MCN Movies

The Three Musketeers

Genre: Action, Adventure, Romance

Director:

  • Paul W.S. Anderson

Writer:

  • Andrew Davies
  • Alex Litvak

Cast:

  • Milla Jovovich
  • Logan Lerman
  • Orlando Bloom
  • Christoph Waltz
  • Matthew Macfadyen
  • Mads Mikkelsen
  • Ray Stevenson

Official Site:

Articles

Weekend Estimates: October 30

Puss in Boots|33.2||33.2 Paranormal Activity 3|18.5|-65%|81.3 In Time|11.8||11.8 Footloose|5.3|-49%|38.4 The Rum Diary|5.1||5.1 Real Steel|4.7|-56%|73.9 The Three Musketeers|3.4|-61%|14.8 The Ides of March|2.7|-45%|33.5 Moneyball|2.3|-42%|67.3 Courageous|1.7|-30%|27.6

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The Weekend Report: October 30, 2011

The Shrek spinoff Puss in Boots was initially expected to open north of $40 million but expectations were pared back to $35 million to $40 million as opening day loomed. The audience skewed 59% female and 55% were 25 years old and up according to exit polls (family stats were unavailable). Once again 3D underperformed with those engagements accounting for roughly two-thirds of the compliment and 51% of the box office while Imax dates were 7% of the total.

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Critics Roundup — October 20

The Three Musketeers |||||Red Being Elmo: A Puppeteer’s Journey |||Yellow|Green| Johnny English |Yellow|||| Martha Marcy May Marlene |||Green|Green| The Catechism Cataclysm (NY, LA Nov 4)||||Yellow| Le Havre (LA) |Green||Green||Green Paul Goodman Changed My Life (NY) |||Green|| Margin Call |Green||Green|| Norman (limited)|||Green|| Oranges and Sunshine (NY, LA) |||Yellow|| The Swell Season (NY Oct 21) |||Green|Green|

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Quote Unquotesee all »

“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson