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Return To Silent Hill Sets Franchise-Low US Opening Weekend

Return To Silent Hill Sets Franchise-Low US Opening Weekend https://ift.tt/sVXoDCc Return to Silent Hill hit the big screen on the weekend, but this adaptation of the beloved Silent Hill 2 video game isn't doing too well critically or commercially in the US. At the domestic box office, the film opened in seventh place and earned just $3.2 million, the lowest to date for the film franchise. In comparison, it's far below the $20.1 million US opening weekend of 2006's Silent Hill and the reviled Silent Hill: Revelation, which earned $8 million during its domestic opening. Opening on 2,000 screens across the US, reviews for Return to Silent Hill haven't been flattering. It currently has a Metascore of 33 on GameSpot's sister site Metacritic--based on 13 reviews--while the user score sits at a slightly higher 4.4. While some outlets consider it an average film at best, others say it doesn't do anything new or better than the original video game or its acclaimed rem...
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Barbie Director Greta Gerwig To Make Two Narnia Movies For Netflix - Report

Barbie Director Greta Gerwig To Make Two Narnia Movies For Netflix - Report https://ift.tt/RvpWCwm

Greta Gerwig has already secured a deal with Netflix to write and direct a minimum of two films based on C.S. Lewis's series, The Chronicles of Narnia, as reported by The New Yorker. It has been widely rumored for some time that Gerwig will be directing the new Narnia movies, following Netflix's acquisition of the Narnia movie rights back in 2018--The New Yorker's article likely finally confirms it.

The article also highlights Gerwig's creative approach, indicating that following Barbie, she is not inclined to embark on another project centered around toys. Gerwig expressed her preference for stories that deeply resonate with her, stating, "It would have to be something that has some strange hook in me, that feels like it goes to the marrow."

In addition, the piece delves into Mattel's strategic shift from a toy manufacturer to an intellectual property management company, and many of the complexities and obstacles involved in IP-based filmmaking. It also explores Mattel's efforts to reclaim Barbie's rights, Gerwig's creative process, the influence of Mattel's Design Center, and the trend of nostalgia-driven films.

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