#Animal Movie Boxoffice

[newslime]

‘Animal’ Roars at the Box Office: Ranbir Kapoor’s Unstoppable Triumph Hits Rs 283 Crore Mark

In a spectacular display of cinematic prowess, Ranbir Kapoor’s ‘Animal’ is rewriting the rules of box office success. The film, directed by Sandeep Reddy Vanga, has not only had an impressive opening weekend but is continuing its triumphant journey well into the weekdays. As of December 5, the film has crossed the remarkable milestone of Rs 283 crore in India, and it shows no signs of slowing down, poised to breach the coveted Rs 300-crore mark imminently.

‘Animal’ Box Office Collection: ‘Animal,’ one of the most anticipated films of 2023, hit the screens on December 1 in Hindi, Tamil, and Telugu. Despite facing competition at the box office, notably with Vicky Kaushal’s ‘Sam Bahadur,’ ‘Animal’ emerged as the unequivocal winner.

On its fifth day, December 5 (a Tuesday), the film raked in an estimated Rs 38.25 crore in India, propelling its total collection to an impressive Rs 283.74 crore. The film maintained a robust 42.51 per cent Hindi occupancy on December 5, underscoring its enduring popularity.

About ‘Animal’: Directed by Sandeep Reddy Vanga, ‘Animal’ embarked on its global theatrical journey on December 1, 2023. Ranbir Kapoor assumes the lead role of Rannvijay, a character described as ruthless and ambitious, willing to traverse any lengths to achieve his goals. The narrative delves into the complexities of the father-son relationship, with Ranvijay driven by the revelation of an assassination attempt on his father, Balbir Singh, and seeking revenge.

The ensemble cast includes stalwarts like Anil Kapoor, Rashmika Mandanna, Tripti Dimri, and Bobby Deol in pivotal roles, adding depth to the gripping storyline. Produced by Bhushan Kumar, Krishan Kumar, Murad Khetani, and Pranay Reddy Vanga under T-Series Films, Bhadrakali Pictures, and Cine1 Studios, ‘Animal’ is a cinematic feast with music from JAM8, Vishal Mishra, Jaani, Manan Bhardwaj, Shreyas Puranik, Ashim Kemson, and Harshwardhan Rameshwar. The film, with cinematography by Amit Roy and editing by Sandeep Reddy Vanga, boasts a runtime of 201 minutes (3 hours 21 minutes).

As ‘Animal’ continues its roaring success, the cinematic landscape is witnessing the triumph of storytelling, stellar performances, and audience enthusiasm. Stay tuned as the film charts new milestones and etches its place in the annals of Indian cinema.

[quantum27]

To whom it may concern - the mutuals, the fandom-in-laws and the average movie goer. I would like to explain the plight of the Tron fandom.

The sequel announcements Disney pulled this year (2024) are insults to anyone who enjoys movies. There's nothing wrong with sequels, don't get me wrong, but to have a catalogue that has only 1 original movie announced is truly saddening, especially to those who love animation.

Then there's also the fans of Tron.

Tron (1982) was the first major motion picture to use CGI extensively for it's settings, vehicles, and many more things. Many of it's animators would go on to work at Pixar and pioneer CGI there. It was so early that it was rejected at the Oscars for special effects because it was considered "cheating" essentially. This isn't a post about the history though I recommend learning about it if you're interested in the medium of animation.

Tron was an average boxoffice movie. It made back it's money and that was it. However it became a cult classic. It's a strange movie- a bit hard to get into- I only fully understood the plot the second watch, even though it's not that complex.

It would spawn a video game sequel, Tron 2.0 (2003). Years later, in 2010, another sequel would come out, setting the current canon timeline (think of a Star Wars legacy canon and disney canon or Star Trek alpha or beta timelines- that's how the fans treat it) Tron: Legacy.

There were also other supplements, the ever mourned, cancelled after one season cartoon midquel Tron: Uprising- tie in video games and comics and a complete ARG before the release of Legacy. Then there was the planned third movie. It languished in development hell, canceled and uncanceled. (There's more complexity there, involving even, Tommorowland (2015) and of course money.)

Now what we're getting is Tron: Ares. A movie that doesn't even feature the actor for the character Tron, Bruce Boxleitner. There's also the fact that Cindy Morgan who starred in the original movie and original video game sequel was always ready to come back has now passed away. Jeff Bridges is set to return in some capacity, the most well recognized actor from the franchise to the point people assume he is the actor who portrayed Tron.

The first short trailer shown for Tron: Ares shows fundamental flaws in misunderstanding the concepts in the prior works, watering it down to an aesthetic. Most fans I've spoken with have little hope for a good movie at this time. It even stars the controversial actor Jared L*to as it's main character! All of these are red flags.

So, to those who read, please know, after waiting for a decade, Disney has decided to shill out a product with less love than any prior element in the franchise. And I mean even less love than the tie-in movie games for Legacy, of which are of varying quality. This is likely due to the opening of the US version of the Tron rollercoaster. The rollercoaster has more love and attention in it than the trailer shown. And with complete love to it and what I've seen of it- the movie should be a higher quality than a rollercoaster in terms of story and lore.

Our only current hope is for more visual novels after Tron: Identity was released in 2023. And I suppose the NIN fans will get a soundtrack.

Disney does not care about it's audiences. But it especially does not care about Tron fans.

[generousdefendorpatrol]

Watch "The Bad Guys become Heroes" on YouTube

Xavier Mitchell

[nazrigar]

Avatar 2: Electric Boogaloo, or “Why You Shouldn’t Take the Internet’s Opinion Too Seriously at Times”

Twas the year 2022, in the Month of May, when the first teaser for The Blue People Movie(tm) was released... everyone on this blasted device called the internet, from Tumblr, Twitter to Reddit though it was going to fail.

Now look where it is.  $2.243 billion dollars later. For all the talk of “Cultural Impact”, plain and simple, you don’t get people to keep coming back to the theaters for a movie with a gap of 13 years from the first if people didn’t care about it.

...Legit the only place that had faith in the movie was effing r/boxoffice. A subreddit. Another, much bigger subreddit in r/movies was basically betting on this film to fail, and when it didn’t it kept deleting posts about its box office success until recently with the exact same news as above.

And that  $2.243 billion? Mostly from international audiences. Heck even my country of Indonesia made it to the top 20 markets for this film, with Europe (France and Germany specifically), India, China and Korea being the other, bigger markets.

As a guy in the animation industry, whenever I see a lot of my own community and even overseas colleagues either bashing or in disbelief of the film’s success I kinda die inside, because it really feels as if though I’m being a traitor to my own professional community for enjoying the movie wholly and unironically.

It took a while, but I finally accepted the ability to say “that’s fine, so what?”.

What can I say? I like realism, and I like realistic animation! I like how its implemented in the movie.

I like exploring speculative worlds from a biological perspective as well as worldbuilding.

I love science fiction critters, and Avatar always delivers.

It’s a movie made for me, as some dude from Indonesia who helps storyboards projects.

So if you’re a fan of the Blue People Movie(tm), don’t feel ashamed. If you’re inspired by this, but also take the criticisms of certain communities to account to improve on your work? Go for it!

Even Jimmy Camera I think learned his lesson (which is hard for me to fathom because... it’s James Cameron. His ego is pretty (in)famous), as he asked for consultation from the Maori community for their opinions on how to write the Metkayina.

Remember, next time the internet (especially twitter) thinks something is going to flop(tm), but you think it might be good and/or successful! Go for it! What’s most important is what you think, and make your own conclusions about it.

[bloodyrook]

I've come to the conclusion that i wont like any casting for the mcu fantastic four cause i don't want it, i want the ff to get a good animated series. why aren't they doing any animated series its the best medium for superhero stuff. they could have it seperated from the overly connected movie verse and give their streaming platform some appeal that won't effect their movies boxoffice success. i mean come on disney was built on animation and now they own all these properties and nothing

[frankjamesbailey]

It's official. The Super Mario Brothers Movie is the biggest opening weekend for an animated movie. #supermariobrosmovie #boxoffice #supermariobrothers

[txabier-lost-word-balloon]

Budget isn’t everything. High Time we realized that.

I'm going to stop Mr. Cameron, right there when he goes on to say how his Avatar: The Way of Water could ever be profitable. Not out of disrespect—far from it—but because of a very particular belief that I’ve had since I was about 6 years old, thanks to both mum and dad. So, sure, call me “44 years worth of old fashioned,” but I kind of internalized that for a movie to be profitable, it has to tell a GREAT story. First and foremost. After all that's what drives people to the theaters and what keeps people buy hardcopies or downloadable file—or keep renting either format; yes, there still are places where you can rent démodé vhs, laser discs, dvds & blu ray physical media. Because let’s face it: all the #CGI craftsmanship or the most breathtaking photography in the world isn't going to do squat for a lame story—have several such sad cases. Also, many really tepid movies have been blockbusters only because what appears on the IMAX screens around the world—Transformer movies, I’m frowning at almost all of you. Bumblebee, you’re not in such hot water, but we’ll talk later, young ‘bot. Go to your parking spot. Now.

The thing is I believe It's time to stop this rather sad trend of assessing "masterpieces" based on the size of budget and boxoffice alone. A true blockbuster and for several years the highest grossing movie of all time, the first Avatar movie was a very passable flick about the tried and true "Gone Native" trope as well as the "Depoilers of The Land" reflection about corporate greed, both subthemes of your regular (anti)Colonization thinkpiece.

Truth be told, not much thinking was required to decode the movie’s message. A thing that made “hardcore movie critics and goers” label it as chidlish, all because of the animation and the obvious “white hat, black hat” depictions of the characters. Now that isn't a bad thing. Even if there were plenty of critiques about the continued "white saviorism" (valid if a tad strained argument) plot, as well as other minor details that know-it-all-yet-done-nothing-yets love to cherrypick in order to blast at the next hyped movie into some sort of oblivion, the movie worked and technically, it excelled. But in Avatar’s case, sadly, these griping people kind of won because, for nearly a decade, Avatar was recognized as a technical achievement and the “big earner,” yet it remained largely forgotten by the wider audience who usually go :”oh, yeah! It looked pretty, but the story was predictable/too simple/the usual/whathaveyou.” This, from people who really love movies; why, some of them study, write and make these for a living. Yep. Avatar, the grossest earner in history for a solid 8 years (8 years filled with high-budget movies taking advantage of the audiences spells of ‘franchise-frenzy” moviegoing) remained barely above water in terms of audience awareness. That, in itself, is an unfortunate result and, some might say, a factual proof of Budha’s idea of impermanence... and a failure as a movie. Even for a record breaking one. So, how do we can we come up with another wat to measure a movies relevance in the industry’s annals and audience’s lives? The questions I consider necessary to make a fair assessment, are:

Can a movie be a true masterpiece when it remains barely remembered by a large sector of the moviegoing & streaming audiences?

Is a low budget movie with a great story, enough profits to label it a financial success, but one that was done with a low budget, somehow undeserving of the “masterpiece” or “classic” labels? In this particular instance, let’s think about, say, Shawn of the Dead, Attack on the Block, Predestination or Primer. Or my beloved Tetsuo, even, which certainly redefined body-horror in Japanese ホラー映画 or “horāeiga.” All of them are fondly (or not so fondly) remembered and came up with something new or different to further nuture the movie industry.

How is success measured outside of the profitability bubble Hollywood keeps imposing on the whole industry?

I certainly don’t have a definitive answer for any of these questions, but I believe it is time we, as an audience, start paying more attention to all those lower budget movies that get lost in all the hype, and to get directors and producers to talk about other ways to assess how good their movies are without resorting to its profitability as the major milestone for measuring it. After all, let us remember Blade was considered as underperforming at the boxoffice on its first three weeks, and this was the impression at the time until DVD sales and rentals numbers were factored in, that these made it into a true earner. Even Wesley Snipes once was quoted on film and press about how this willingness the people had to watch against the movies they had dissed while it was n its theatrical run, was what made Blade into something profitable. So much so—lifetime gross USD $82.348.319 on a USD $45 million budget, it got Guillermo Del Toro involved in the “now very famous if not overly fantastic yet definitely fun to watch” Blade II—lifetime gross USD $155,010,032 on a USD $54 million budget, which topped the first one as the highest profit maker of the three. The moral may be: don’t be too greedy when trying to mark a movie as “profitable.” Just because Cameron wants it to go all the way to the “billion dollar on opening week” club to consider his movie is actually making some profit, while the whole Blade 3-movie franchise is far from reaching the USD 1 billion landmark and every single one of them is more talked about than Avatar, should give a time for pause. I’ll say it again: all of the Balde movies were profitable by earning nearly or a bit over double their assigned budget (Blade and Blade: Trinity) while Balde 2 made nearly 3 timex its assigned budget. None of them are close to half of Avatar’s opening weekend numbers. Yet, all of them are more talked about, even the very bad third one, than Cameron’s CGI marvel with the rather simple yet passable story. Surely, there’s other ways to assess how good a movie is and can perform than short-term profitability. I don’t know. To me, it’s like marking yourself for the slaughter just before the real bloodletting begins. Not very smart. You catch my drift?

[trentanimation]

Congratulations @disneyanimation on wrecking the box office with #ralphbreakstheinternet . More importantly, a lot of blood sweat and tears from 100’s of passionate artists at #disney went into making this gorgeous film. I missed out working on it because I started on #Frozen2 early, but I was lucky enough to watch from the sidelines and witness all the incredible work being done❤️ Did you see it this weekend? Tell me what you thought! #disneyanimation #disneyanimationstudios #boxoffice #movie #movietheater #ralph #wreckitralph #animation #animated #draw #drawing #art #artist #artistsoninstagram #lol #funny #love #illustration #illustrated #venelope #johncreilly #sarahsilverman #disneyland #disneyworld #fanart #disneycharacters #disneyfan (at Los Angeles, California) https://www.instagram.com/p/BqnMs_Ahyfi/?utm_source=ig_tumblr_share&igshid=1iawfdcir9v6a

[saltypopcornau]

HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD is the conclusion to this wonderful animated journey. Thank you Dean DeBlois for directing one epic trilogy. Farewell and Godspeed Hiccup, Toothless and the inhabitants of Berk, you will be missed. Review's up and movie's out in Australia. 🐉🐲 Check out our review at Salty Popcorn using the link in the bio or copy and paste the below link into your browser. https://saltypopcorn.com.au/how-to-train-your-dragon-the-hidden-world-review/ . . . . . #howtotrainyourdragon #howtotrainyourdragon3 #jaybaruchel #toothless #animation #movies #movielove #movieblogging #movietrailer #movieposters #moviectitic #filmcritic #hollywood #arthouse #blockbuster #boxoffice #atthemovies #atthecinema #instamovie #moviereview #cinema #superheromovie https://www.instagram.com/p/Bsh88AElb6Y/?utm_source=ig_tumblr_share&igshid=1psdu95zf1bqw

[lewatsfilm]

📽𝑺𝑬𝑳𝑨𝑺𝑨 𝑨𝑵𝑰𝑴𝑨𝑺𝑰✅ 🎞 𝙏𝙝𝙚 𝙎𝙥𝙤𝙣𝙜𝙚𝘽𝙤𝙗 𝙈𝙤𝙫𝙞𝙚: 𝙎𝙥𝙤𝙣𝙜𝙚 𝙤𝙣 𝙩𝙝𝙚 𝙍𝙪𝙣 #animation ini tayang di berbagai streaming platform, sayang bgt hrusnya bioskop . follow @lewats.film untuk lebih banyak review dan info film RATE & VIDEO REVIEW YT : SINEtizen 👉 (LINK ON BIO) ==========🎥========== . Review: animasi nickelodeon ini selalu menghibur, apalagi animasinua dibuat 3D terus ada keanu reeves versi sage kocak sih . #film #movie #moviereview #reviewfilm #filmreview #reviewer #boxoffice #lewatsfilm #cinema #review #instagram #movietime #filmbagus #recommended #bioskop #nonton #films #movies #moviescene #capture #netflix #movielist #rekomendasifilm https://www.instagram.com/lewats.film/p/CXK6y9dP2qp/?utm_medium=tumblr

[otapptz]

It’s about finding your reason for living, Watch SOUL a great movie to end 2020! Book Now @ www.otapp.co.tz

[movietrailersworld]

Click the poster see new movie video and full information

Actors like Force, Commando franchise, and Junglee, actor Vidyut Jammwal, known for his high stunts on screen, his 

next film “KhudaHafiz” is a hardcore romantic film. The trailer of the film has now been

released Disney + Hotstar. The cinematography of the film is done by Jeetan Harmeet Singh. The film is written by 

Faruk Kabir. Apart fromlead star Vidyut Jammwal, Khuda 

Hafiz cast Shivaleka Oberoi,Annu Kapoor, Shiv Pandit, and Ahana Kumra. Lead roles 

        Khuda Haafiz Disney + Hotstar movie story

The trailer is experiencing a slowdown in the country in March

2008. In search of better employment opportunities, a young

couple, Sameer (Jammwal) and Nargis (Oberoi), decide to 

go abroad. Little did they know what the future meant to them. Nargis departed for a foreign land called Noman 

and went missing. One day,Sameer gets a disturbing call 

from him after which he reaches aforeign country and starts 

searching for his wife. Soon she learns that Nargis has become a victim of sex trafficking. Now, if he succeeds in

bringing his wife back safely or not, makes for the plot of the film.

                                      Read More Click Here

[nowhere-podcast]

#FlashbackFriday #OnThisDay in #1978 the #animated #film #TheLordOfTheRings was #released in #theaters .. #movies #movie #adaptation #jrrtolkien #fellowshipofthering #bilbobaggins #frodobaggins #hobbits #novels #rotoscoping #ralphbakshi #boxoffice #movietrivia #popculture #entertainment #podcasting #podcasts #nowherecalifornia https://www.instagram.com/p/B46D-udH_gW/?igshid=19lh0o9pw48o3

[stephdavido03]

The Economics of Visual Effects By Melena Ryzik February 27, 2013 New York Times

LOS ANGELES – There’s a high-stakes fight brewing here, between the digital artists who create the movie-magic effects that many blockbusters depend on and the studios that employ them. Audiences got a taste of it on Sunday, when Bill Westenhofer, a visual effects winner for “Life of Pi,” was played off the Oscar stage with the “Jaws” music, just as he was talking about the bankruptcy of the film’s effects house, Rhythm & Hues.

In a related protest, more than 400 people, many of them laid-off Rhythm & Hues workers, demonstrated just a few blocks from the theater where the Oscars were taking place, voicing their grievances against the industry. According to Deadline.com, they protested working conditions (long hours without equivalent pay) and the foreign subsidies that draw jobs overseas. Some talked of unionizing. A plane bearing the banner ““BOXOFFICE + BANKRUPT = VISUAL EFFECTS VFXUNION.COM” was scheduled to fly over the Dolby Theater during the Oscars red carpet.

Rhythm & Hues is not the only casualty of the business. According to The Hollywood Reporter, the German company Pixomondo, which won an Oscar for “Hugo” last year, is closing its London offices because of financial strain, and shutting its Detroit office in November. At a time when the entertainment industry is sustained by tentpole movies driven by visual effects, it seems bewildering that so many are floundering. (The site Before VFX illustrates what blockbusters would look like without the digital add-ons.)

Many thought that playing off Mr. Westenhofer was poor form, especially after an introduction by the cast of the effects-heavy “Avengers.”

“It’s particularly galling that the FX guy, speaking about a protest that was happening outside that directly addresses the financial realities that are starting to damage the FX community in a way they may not be able to fully recover from, was cut short at a ceremony where they actually had a computer-animated character give away an award on live television,” Drew McWeeny, an editor at HitFix, wrote.

In an interview in the press room at the ceremony, Mr. Westenhofer elaborated on his speech.

“The visual effects are definitely in a challenging position right now, and we’ve got to figure out how to make this business model work, because there are artists that are struggling right now,” he said. “And I wanted to point out that we aren’t technicians. Visual effects is not just a commodity that’s being done by people pushing buttons. We’re artists, and if we don’t find a way to fix the business model, we start to lose the artistry. If anything, ‘Life of Pi’ shows that we’re artists and not just technicians.”

Backstage, Ang Lee, the best director winner for “Life of Pi,” also took up the cause of the effects workers. “I refuse to think those are technicians that work, hundreds of them work by the computers. We create something that’s visual art,” he said. “The bad news, it’s too expensive. It’s very hard.”

“Once it gets cheaper and easier,” he added, “more filmmakers are going to dive into that and create something more and more interesting. And that language will establish the audience in the future.”