Why Dark Phoenix is rival of toy story 4!

“It clearly is a movie that didn’t connect with audiences that didn’t see it, it didn’t connect enough with audiences that did see it. So that’s on me,” Kinberg told KCRW. “I loved making the movie, and I loved the people I made the movie with.”When it comes to second weekend drop-offs, almost every film sees it happen – even the mighty Avengers: Endgame. At this point, it’s just something that’s to be expected, no matter how big the movie is.

Still, in the case of X-Men: Dark Phoenix, it was particularly bad. Already, it had received a thrashing from critics, not to mention fans also came down hard on it all over social media, leading to the film scoring the lowest box office opening ever in the franchise. And as for that second weekend drop-off? Well, it wasn’t pretty.

Dark Phoenix tanked hard last week and found itself with the dishonor of having the second biggest Friday drop in superhero movie history. It should come as no surprise then that theaters are beginning to turn their back on the pic, with Exhibitor Relations reporting the following over on Twitter.

Fire extinguished. X-MEN: DARK PHOENIX will lose 1,667 theaters (-44%) in just its 3rd week of release.

Ouch! Clearly, this is going to seriously hurt the film’s box office numbers and means that it probably won’t be around much longer, as other theaters will no doubt follow suit in the weeks to come. Where it’ll ultimately end its run, we won’t know for a while yet, but with a current worldwide gross of $208 million, it’s definitely been a rough couple of weeks for Dark Phoenix.


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The original “Men in Black“ is a domestic adventure, with the MIB functioning something like the FBI. Agent J (Will Smith) and Agent K (Tommy Lee Jones) examine clues, interview witnesses and arrest tentacled monstrosities. In short, the first MIB is a detective drama.MIB: International” switches genres; it's not about gumshoes, but about spies. As in a James Bond film, the action bounces from exotic locale to exotic locale. Agent H (Chris Hemsworth) and Agent M (Tessa Thompson) visit London, Paris, Marrakesh and the secluded Mediterranean island fortress of a four-armed intergalactic smuggler.

Agent H is the parodic 007 analog. Like Bond, he gambles (snatching an ace from the cage with a three-headed snake), drinks and is irresistible to women, no matter how many limbs or suckers they have. The twisty plot involves assassinations, moles, infiltration and double agents.Having borrowed so much from Cold War stories past, the film, perhaps inadvertently, also finds itself using the USSR as a model for its antagonists. The Hive is an expansionist insectoid race which absorbs its conquests. It can take over the minds and bodies of other creatures, so that they serve the Hive.

This is exactly how paranoid science-fiction Cold War films like “Invasion of the Body Snatchers” (both 1956 and 1978 versions) portrayed the Communist menace. Russia and China during the Cold War were often compared to insect colonies, as President Ronald Reagan did during his 1964 speech in which he warned about "the ant heap of totalitarianism." The Hive can only be stopped by an ultimate weapon, powered by a star and nuclear reactions. The evil expansionist collective is held in check by atomic technology. Sound familiar?The USSR doesn't exist anymore. Say what you will about current authoritarian Russian leader Vladimir Putin, but his top-down, kleptocratic regime is not particularly collectivist. The Hive, as a stand-in for the international Communist menace, isn't really referencing any current geopolitical threat. It's a nostalgic goof.


Mutants are really in between us! Sophie Turner

Film had tried to get around this sense of exhaustion by introducing a third generation of mutants, headlined by Sophie Turner’s Jean Grey, that would carry the franchise into the future. But if there was any movie that could launch a new line of heroes, it was not Apocalypse, which among its many issues gave the youngsters so little screen time that Jubilee, played by future rom-com star Lana Condor, spoke a whopping four lines. Three years later, Dark Phoenix arrived with a dual mandate — saying good-bye to a group of characters audiences scarcely cared about, while also investing them in the downfall of Turner’s Grey, a character they had not yet been given a chance to care about. It would be like if Marvel had made Captain America: Civil War before The Avengers.Even by this late date, the X-Men retain some juice as a concept; fans can’t stop themselves from speculating how they’ll eventually be folded into the MCU. It’s possible that, had Dark Phoenix had a clearer vision, and not been plagued by as many production issues, things might have worked out differently. I’m not sure you can say the same thing about

Men in Black: International. Born from an abandoned plan to simultaneously reboot the MiB and 21 Jump Street franchises — an even more dispiriting idea than the one that ultimately made it to screens — International likewise attempted to revamp a long-running franchise on the fly. The series had relied on the chemistry between Will Smith and Tommy Lee Jones, but after 2012’s Men in Black 3, that vein seemed tapped. (Plus, according to The Hollywood Reporter, the old duo would have commanded higher fees than Sony was willing to pay.) And so the new film retained the same alien concept and the same alien aesthetics with a new location and new comic energy supplied by the pairing of Chris Hemsworth and Tessa Thompson, which had proved to be so winning in Thor: Ragnarok. But as anyone who’d seen Blues Brothers 2000 could have told you, simply putting new actors in black suits and shades does not reinvigorate old IP. Like Jean Grey, the MiB universe by itself was not enough of a draw. In the immortal words of one Sony exec: “The movie needed a greater reason to be.”


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Men in Black’s plot is easily its weakest feature. It feels as though they were making up the film’s story up as they filmed, and this ends up greatly hurting the pacing and overall weight of the film. In no scene do you ever feel as though H or M are in any sense of danger or peril. The loose structure of the story also means that the themes of the film are inconsistent, and at times contradictory.

The film also consistently disrespects the intelligence of its audience by not allowing the plot to develop naturally; rather it has to remind the audience over and over again of elements it already established. It feels as though the filmmakers are talking down to the people who are paying their own hard-earned money to see their work. It is poor filmmaking and poor treatment of audiences. This film feels like it was made not as an artistic statement, but rather a popular intellectual property they could exploit to maximize profits.

It isn’t all bad, though, despite a vapid plot, the comedy in Men in Black: International works (for the most part). Tessa Thompson and Chris Hemsworth have excellent on-screen chemistry due in part to their past work together in the Marvel Cinematic Universe. The jokes often don’t warrant laugh out loud moments anywhere, but I found myself chuckling to myself throughout the film.

Thompson and Hemsworth provide a needed dose of personality to an otherwise flop of a film.With the summer movie season now beginning sometime in late April, the long days of mid-June have become the traditional ground for second-guessing the season’s first flops. And 2019 has already given us a bevy of them. Last weekend, Men in Black: International and Shaft both opened well shy of expectations. Things look even worse for Dark Phoenix, which seems likely to lose $100 million. May’s Godzilla: King of the Monsters also underperformed compared to its precursors. The fallow returns for all these films have some box-office observers wondering if some sort of illness is affecting this summer’s crop of franchise films. Could we be in for a long season of the dreaded sequel fatigue?


THe naughty chemistry ruined Thompson birthday party!

Part of what makes Barry Sonnenfeld’s 1997 original Men in Black timelessly endearing is its tongue-in-cheek portrayal of everyday life in New York City. Using its central science-fiction conceit (“What if that strange-looking falafel guy next door turns out to be a shape-shifting creature from Mars?”) as a high-concept farce that pokes fun at the anxiety of living in New York City’s cultural melting pot, the first Men in Black is a refreshing piece of blockbuster filmmaking born with a discernible identity in a period when multiplexes were inundated with uniformly po-faced alien invasion thrillers.

Helmed by veteran filmmaker F. Gary Gray, Men in Black International is listless in comparison. The prospect of broadening the scope beyond New York City may sound exciting on paper, but it effectively erases the culturally specific satire that lies at the core of the franchise. The film’s protagonists move to and from multiple countries and continents, yet this perfunctory sight-seeing provides nothing but bland geographical backdrops.

The action almost never taps into the dynamism inherent in the film’s globe-hopping antics, save for a chase through the narrow alleyways of Marrakesh in Morocco which seems influenced by the Cairo chase in Steven Spielberg’s Raiders of the Lost Ark.

Men in Black International pays penance for its limp writing by doubling down on the superficially fun, seemingly ad-libbed interactions between marquee stars Hemsworth and Thompson. Their chemistry, which has previously taken center stage in Thor: Ragnarok, proves to be the film’s sole saving grace.

RLatest 'Men in Black' leads box office but fails to wow critics


Why courtesy of stephen deployed unauthentical term!

If you're into cute aliens and inspiring feminist stories, "Men in Black: International" is worth a watch. But if you were hoping for more of the same humor that Will Smith and Tommy Lee Jones brought to the original "Men in Black," you might want to wait until this one becomes available for streaming rather than head to the cinema to see it. In the current age of prequels, sequels, reboots, spin-offs and a combination of the four, it was only a matter of time before Sony Pictures’ Men in Black film franchise – which became dormant following the modest success of the third installment – would be exhumed and given a slick update in the superhero-dominated summer of 2019.

As is common among new releases associated with established properties that peaked years or even decades ago, the Men in Black franchise’s latest attempt at rejuvenation lacks a clear sense of purpose.

Titled Men in Black International, the franchise’s comeback in an entirely new blockbuster playing field often feels groggy, constantly switching tactics between old-fashioned buddy-comedy sensibilities and contemporary polish, before reducing itself to little more than an uncompromising display of star power, courtesy of its naturally charismatic leads.


Salas do dados virtuais: uma solução chocho para os alguns desafios destes negócios modernos | dealroom

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Em segundo lugar, o próprio processo de transferência de dados ocorre usando estes protocolos, cifras e chaves ainda mais confiáveis. Afinal, a foi projetada do convénio usando os padrões internacionais do segurança. Em terceiro lugar, seus dados são armazenados usando segurança, uma vez que os servidores nos quais eles estão localizados possuem protocolos especiais. Mesmo em cataclismas e falta do vigor a comprido prazo, seus dados não seroada perdidos. Para além da confiabilidade, as salas do dados virtuais são bem conhecidas por sua funcionalidade. Este desenvolvimento pode vir a baixar significativamente o tempo de sobra de trabalhos rotineiras, como carregar, alterar formatos, pesquisar, estruturar. Uma de funções mais convenientes é este tráfego em grupo em 1 projeto. Sua equipe pode vir a preparar documentação a qualquer hora, em qualquer lugar. Cada 1 destes funcionários terá seu próprio nível do entrada, suas capacidades. O visitante pode discutir problemas em 1 chat confiável e confidencial, compartilhar arquivos lá. No final do produção do grupo, você será fornecido com um relatório preciso sobre a eficácia de cada participante.

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Their powers are also super impressive as they can manipulate any kind of matter they touch, evidenced by them absorbing the asphalt in the streets and sending a tidal wave through it to kill Agents H (Chris Hemsworth) and M (Tessa Thompson). As the MiB shoot the duo with lightning and all sorts of other ammunition, they simply absorb the hits and chuck the energy right back. Seeing as they're shapeshifters too who can melt humans into goo with just a touch and collapse cliffs by absorbing the tectonic energies of Earth, the danger factor is off the charts, truly giving the organization their deadliest foes to date.

Lastly, the purpose of these Twins is what really gets you. At first glance, they're hunting down the Box (a crystalline structure that turns into a destructive super-gun) to seemingly go on a crusade of war and bloodshed. However, the agents deduce that when the Twins said they want the weapon for the Hive, it doesn't mean it's to give to them -- it's actually to kill this bloodthirsty race. That's right, the Twins aren't actually villains, they're refugees doing anything and everything to protect their species from the Hive, Unfortunately, that means they're prepared to become terrorists on Earth to achieve their goals.

That said, you can frame them as antiheroes plunged into a bad situation, merely trying to avoid extinction. Sadly, communication wasn't their strongpoint because all they had to do was speak to the agents and form an alliance. Nonetheless, saving the cosmos from merciless conquerors makes them aliens we can relate to and empathize with.