MCN Movies

The Smurfs

Genre: Animation, Family, Fantasy


  • Raja Gosnell



    • Jayma Mays
    • Neil Patrick Harris
    • Anton Yelchin
    • Sofía Vergara
    • Hank Azaria
    • Katy Perry
    • Alan Cumming
    • Paul Reubens
    • B.J. Novak
    • George Lopez
    • Kenan Thompson
    • Fred Armisen
    • Jonathan Winters
    • Adam Wylie
    • John Oliver
    • Jeff Foxworthy

    Official Site:


    Box Office Hell — August 12

    Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com Rise of the Planet of the Apes|27.7|32.8|25.0|27.0|26.0 Final Destination 5|24.8|21.4|22.0|23.0|20.0 30 Minutes or Less |18.6|16.5|15.0|16.0|17.0 The Help|14.8|18.9|17.0|20.0|18.0 The Smurfs |12.0|13.4|13.5|13.0|13.0 Glee Live 3D |12.0|10.9|8.3|9.0|8.0

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    Box Office Hell — August 5

    Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com Rise of the Planet of the Apes|47.8|n/a|41.0|42.0|39.0 The Smurfs |21.7|n/a|20.0|23.0|20.5 The Change-Up |18.2|n/a|18.0|16.0|19.0 Cowboys and Aliens|17.5|n/a|16.0|15.0|15.0 Captain America: The First Avenger|12.7|n/a|13.0|13.0|13.0

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    Box Office Hell — July 28

    Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com Cowboys and Aliens|44.2|n/a|40.0|n/a|39.0 Captain America: The First Avenger|33.5|n/a|29.0|n/a|30.0 Harry Potter and the Deathly Hallows, Pt 2 |20.7.|n/a|24.0|n/a|23.5 The Smurfs |20.5|n/a|20.0|n/a|25.0 Crazy Stupid Love|15.2|n/a|18.0|n/a|17.0

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    CULVER CITY, Calif., June 25, 2011 – Today, in honor of Global Smurfs Day, Smurfs fans in 11 cities around the world set a new Guinness World Records title for the Largest Gathering of People Dressed as Smurfs within a 24-hour Period in Multiple Venues, it was announced today by Marc Weinstock, president, Worldwide Marketing…

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    Cool Brez Shows The Way From Jellystone Park To Barham Blvd.

    Cool Brez Shows The Way From Jellystone Park To Barham Blvd.

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    Quote Unquotesee all »

    “When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
    ~ Michael Bay Gives Richard Brody A Tingle

    How do you see film evolving in this age of Netflix?

    I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

    The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

    These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

    Filmmaker Cédric Klapisch