Best-Reviewed Movies 2020: United KingdomWant variety? Look to the best U.K. movies of the year, according to the critics. There’s groundbreaking horror – the 100% Certified Fresh His House and Zoom horror smash Host – plus a searing drama that puts you in the deteriorating mind of a man suffering from dementia (The Father), a zing-filled historical comedy (The Personal History of David Copperfield), and a thrilling documentary (White Riot). Notably, three of the films – His House, The Father, and White Riot – come from directors making their feature film debuts.The order of the rank below reflects the Adjusted Score as of February 28, 2021. Scores might change over time.« Previous Category Next Category »
Tracking services took another hit this weekend, though maybe not as sharp as the one that Warner Bros. got. After all they were relying on the optimism that their Harley Quinn film was going to live up to the expectations that box office watchers had based on the awareness of their advertising. The result is a number that looks decent in a rather downbeat start to 2020, but is far from what anyone associated with the project wanted looking forward.King of the Crop: Birds of Prey Tops Weekend, but Disappoints(Photo by Warner Bros. Pictures)For weeks Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) was being touted for an opening in the million range. That would be in the Shazam!/Green Lantern range for DC properties and was already subject of some concern for the reported million production. Word-of-mouth and international sales were going to be essential to making the film a hit with 0 million worldwide the magic number to begin having that conversation. If the film were able to follow the paths of those two other films, it could have ended up in the 6 million–0 million range domestically and probably cross its profit margin with no issue. But at least part of that journey may be over right from the get-go.A .25 million start for Birds of Prey puts it in a rather precarious position. Only a third of the films opening in February between million– million have crossed the 0 million line: Get Out, Identity Thief, The Lego Movie 2, and Just Go With It. The writing was seemingly on the wall Friday morning. While some were touting million in Thursday previews as a solid start, all one had to do was look at the films grossing that specific amount to suggest Birds was off to a rocky start. The two R-rated films with that start — Annabelle: Creation ( million opening) and Blade Runner 2049 (.75 million) — a prequel and sequel from WB finished with 2 million and million, respectively. (The PG-13 films opened between million–75 million.)The film could still be saved by its international release, however. Last year, Shazam! grossed over 4 million overseas, and that is the lowest showing for a DC property since 2011 when Green Lantern only accumulated an additional 3 million internationally. Birds of Prey debuted with million overseas.
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Richard Jewell (2019) 77% Back in 1996, smack dab in the middle of the Summer Olympics in Atlanta, Georgia, a pipe bomb exploded in Centennial Olympic Park, killing one person and injuring dozens more. The man who originally discovered the bomb, a security guard named Richard Jewell, alerted the authorities and helped evacuate spectators to safety, and he became a hero in the process. Well, for a few days, anyway, until reports began to surface that he was a person of interest in the FBI s investigation, at which point Jewell underwent a grueling trial by media that changed his life forever. Clint Eastwood s latest directorial effort, Richard Jewell, is a dramatization of these events, with Paul Walter Hauser playing the title character at the center of the whirlwind, Sam Rockwell as his old friend and eventual attorney, and Kathy Bates as Jewell s mother Bobi they re the good guys. On the other end, we have Jon Hamm as an unscrupulous G-man and Olivia Wilde as the Atlanta Journal-Constitution writer who broke the story of the FBI s interest in Jewell. It s an impressive cast, and critics say each performer offers striking work under Eastwood s steady direction, even if the story itself has been somewhat oversimplified for dramatic effect. Eastwood clearly has a message on his mind in Richard Jewell, and he largely succeeds in communicating it clearly and effectively. He s in comfortable territory here, and it works to his advantage; fans of his work should find plenty to enjoy.