"T-3" maked it marked as heavy gosser

Marking the second hugely successful day-and-date global release this summer, Paramount's "Transformers: Dark of the Moon" grossed $379 million at the worldwide box office through Sunday, according to studio estimates. The total will easily exceed $400 million by the of Monday.
Paramount estimates that the sequel will meet its pre-release domestic projections with $181.1 million by the end of day Monday.
"Dark of the Moon" also set a four-day Fourth of July holiday-weekend record with $116.4 million over the frame -- narrowly beating Sony's "Spider-Man 2" ($115.8 million), pending final tally.
But it was the foreign market, 70 percent of which chose to see the movie in 3D, that drove "Transformers 3."
Opening up in 58 territories across the globe at the same time it premiered in 4,013 theaters in the U.S. and Canada, the film enjoyed the third biggest foreign Wednesday-through-Sunday opening ever.
Earlier, IMAX announced that "Transformers 3" had set a global-opening record, grossing an estimated $22.5 million on worldwide IMAX screens through Sunday.
The huge overseas start comes just over a month after Disney's day-and-date global release of "Pirates of the Caribbean: On Stranger Tides" yielded a $256.3 million opening abroad. That film went on to cross the $1 billion mark this weekend, largely on the back of the foreign market.
"If we hadn't chosen to debut the movie later in Japan and China, we probably would have had the all-time record," noted Don Harris, general manager of distribution for Paramount.
Releasing a film around the world the same weekend it premieres in the U.S. and Canada -- what the industry calls a day and date premiere -- started as a means of combating piracy. The logic: why wait for illicit copies of a film to spoil emerging markets like Russia? Just get the film out there.
But with "Pirates 4" and "Transformers 3" showing the strategy has a potentially explosive upside, might we see more of these types of worldwide releases?
Could be.
"Just from a publicity standpoint, it's easier to get [the cast] together at one time and take them on the road," said Harris, noting that the "Transformers" crew got all its press junkets out of the way in a worldwide barnstorming tour that started in Russia, wound through Germany and ended in New York.
In the U.S. and Canada, "Dark of the Moon" got an A grade from movie word-of-mouth researcher Cinemascore, which helped the film overcome the bad narrative aftertaste of 2009's "Transformers: Revenge of the Fallen."

DONT MESS WITH PAST"MY EX HAUNTED LOVER"

Chill, folks.

Draw the curtains, stay indoors.

Didn’t you see the apparition lurking in the shadows outside?

She’s back for the haunting,

She’s not gonna leave you alone,

She’s out to drink  your blood.

Now, when did this happen?

How did this story start?

Hush, baby.  Here’s the SECRET:

Take this elder sister.

Her name is BOWIE, a ravishingly sexy Thai actress.

She loves her younger sister, very much and will go the long mile for her, any time.

Her younger sister is CEE, doe-eyed, sweet and so beguiling, and has this roguish boyfriend called AOF.

Through BOWIE’s connections, CEE clinches  a lead role in a big budget feature film.

So you see, in the celluloid world, it is never what you know, but WHO you know to get you some place.

Hopefully not a quick ticket to HELL though.

But who knows?

Happiness is all around, until AOF decides to intervene with CEE’s career.

Why?

AOF is broke, needs money and wants a piece of the action.

AOF also has a girl friend on the side, called YING, who eventually throws herself from a tall residential building into the pool below, when AOF dumps her.

So YING’s spirit will come ahaunting

and then revenge is sweet, right?

LIGHTS! CAMERA! ACTION!

Now, our REEL story begins …..

All THAI movies distributed overseas are cleverly highlighted as THAI box-office HIT number 1, irrespective of whether they are or not.

How are we to know, really?

Whether this bit holds water or not, we must realize that this is MY EX2: Haunted Lover is spawned from the box office success of its predecessor MY EX1.

The film director is PIYAPHAN CHUPET and the stars are BADIN DUKE, MARION AFFOLTER and PETE THONG-JEUR – as if you have heard of these names.

The Thai Film Board and Distributors never bothered to promote their artistes out of Thailand, much less care about the awful English sub-titling.

It has little to offer in terms of “new-ness” to the realm of Asian ghost movies, but it handled the conventions well, piling frightful scene upon frightful scene as a vengeful ghost seeks payback against those who wronged her.

For horror fans, you will be treated with loads of awesome blood and gruesome gore.

This film is layered with twisted revelations towards the end, where things are not as placid as they seem and that beauty can be a lethal weapon.

To savor THE HAUNTED LOVER, keep your concoctions simple.

Take it with a pinch of salt and a twist of lemon.

The film director could have focused on the character development of the leads instead of spawning screamy and squirmish escapades non-stop to create the shocks.

Interesting plot but tiresome execution mars the enjoyment of an otherwise absorbing film about vengeful hauntings.

Oh, lest I forgot, this Reviewer is nursing a bad headache from the super loud eerie soundtrack that accompanies the gory scenes.

It’s a real turn-off to have the noise so earsplitting and explosively jarring.

We are not stone deaf.

The audio people at Kantana Post in Bangkok, kindly take note!

As the credits roll at the final frame, this Reviewer had to rush to grab some aspirins from the nearby pharmacy, to keep himself from reeling.

Such is the reward for watching MY EX: HAUNTED LOVER.

The hauntings are tagged with a price.

 

"i saw devil" feel the extremism of psychoism

Kyung-chul (Choi Min-sik) is a dangerous psychopath who kills for pleasure. He has committed infernal serial murders in diabolic ways that one cannot even imagine and his victims range from young women to even children. The police have chased him for a long time, but were unable to catch him. One day, Joo-yeon, daughter of a retired police chief becomes his prey and is found dead in a horrific state. Her fiance Soo-hyun (Lee Byung-hun), a top secret agent, decides to track down the murderer himself. He promises himself that he will do everything in his power to take bloody vengeance against the killer, even if it means that he must become a monster himself to get this monstrous and inhumane killer.

I Saw The Devil was released in South Korea on August 12, 2010. The film premiered at the Sundance Film Festival on 21 January, 2011. ^[5] It also received screenings at several other international film festivals, including the Fantasporto Film Festival, Toronto International Film Festival, Sitges Film Festival, San Sebastian Film Festival and the London Korean Film Festival.^[6]
American distribution rights were acquired by Magnet Releasing who released it in theatres on a limited basis on March 4th, 2011.^[7]
Jeannette Catsoulis of The New York Times wrote "From an unexpectedly moving first act to a hilariously disgusting sojourn with Kyung-chul’s cannibal pal, Mr. Kim and his cinematographer, Lee Mogae, retain complete control of the film’s fluctuating tones and impressive set pieces."^[8]
Mark Olson of the Los Angeles Times wrote "There is all the violent mayhem, for certain, but the thing that sets I Saw the Devil apart is its undercurrent of real emotion and how unrelentingly sad it can be."^[9]
Rob Nelson from Variety magazine stated that "Repugnant content, grislier than the ugliest torture porn, ought to have made the film unwatchable, but it doesn't, simply because Kim's pic is so beautifully filmed, carefully structured and viscerally engaging


AWARDS:
2010 47th Grand Bell Awards

• Best Lighting – Oh Seung-chul
• Nomination – Best Actor – Lee Byung-hun
• Nomination – Best Actor – Choi Min-sik
• Nomination – Best Film

mays top 5 grossers

Weekend (Click to view)	Top 12 Total*	Change LW	#1 Movie	Week
May 27–30	$268,250,261	-	The Hangover Part II	21
May 27–29	$216,205,440	+36.2%	The Hangover Part II	21
May 20–22	$158,699,494	+23.1%	Pirates of the Caribbean 4	20
May 13–15	$128,915,355	-17.0%	Thor	19
May 6–8	$155,229,986	+7.1%	Thor	18

x men , hangover ,and kung fu panda has loosen weights in collections compared to pirates

X-Men: First Class's opening reiterates the danger of rebooting a still prominent franchise without a clean break and the passage of a lot of time (Wolverine was just two years ago). While wanting to restart things after the quality issues of Wolverine and X-Men: The Last Standwas understandable, First Class was just a Wolverine-less prequel. First Class's marketing, which sent mixed messages by including references to the previous movies, didn't go into the movie's actual story. It merely focused on seeing what the X-Men were like when they were young and the brewing disagreement between Professor X and Magneto, which was already covered in the previous movies. That First Class still made $21 million on its first day could be seen as a sign of the franchise's popularity.











Kung Fu Panda 2 didn't take the same beating as Hangover Part II, but it was still battered in its second Friday. Retreating 52 percent, the animated sequel generated an estimated $6.3 million, increasing its sum to $82.4 million in nine days. The percentage drop was more extreme than Madagascar (42 percent) and any Shrek movie at the same post-Memorial Day point. The first Kung Fu Panda was down nearly 51 percent in its second Friday (which was a week later on the calendar), though it pulled in $10 million and had a much higher total.






The Hangover Part II tumbled 65 percent Friday-to-Friday to an estimated $10.5 million. The percentage drop was almost as bad as Sex and the City 2's at the same point, and, of course, was much steeper than the firstHangover's 38 percent fall. Since Wednesday, Hangover Part II has been making less or about the same amount as its predecessor, though its cumulative gross was nearly twice as much at $164.9 million in nine days, ranking as the 26th highest-grossing nine-day opening of all time (and second to The Matrix Reloaded among R-rated movies).


Pirates of the Caribbean: On Stranger Tides continued its descent: off 53 percent, the supernatural swashbuckler grabbed an estimated $5.1 million for a $177.3 million tally in 15 days. Bridesmaids, on the other hand, delivered another stellar hold. The comedy eased 23 percent to an estimated $3.6 million, increasing its sum to $98.7 million in 22 days. It will cross the $100 million mark on Saturday, and its Universal Pictures stable mate,Fast Five, will pass the $200 million line on Saturday as well.

drive angry 3d

directed by Patrick Lussier (My Bloody Valentine 3D), is an action thriller with a resolutely trashy, grindhouse ethos. This weekend, should you require an antidote to the Academy Awards’ hauteur, pretentiousness, and altogether unreasonable commitment to quality, this lowbrow orgy of carnage, nudity, and roaring muscle cars will surely do the trick. Then again, so will a few episodes of Jersey Shore. But that show, unlike Drive Angry, isn’t available in eye-bludgeoning 3D. Yet.




The film stars Nicolas Cage as John Milton, a cigar-chomping, Jack Daniels-swilling ex-con who has escaped from hell (literally) to save his granddaughter from being sacrificed by an apocalyptic cult. Fear not, B-movie aficionados: The character’s name, a winking nod to the author of Paradise Lost, is about the only discernibly literary or philosophical element to be found in Drive Angry, which otherwise keeps its aim squarely below the waist. Knowledge of Milton’s 17th-century epic poem, or of literature in general, is not required for the enjoyment of this film. In fact, it might hinder it.



Some films inadvertently earn the “so-bad-it’s-good” label; Drive Angry aspires to it. The plot is spotty and nonsensical, crafted mainly to connect the dots between bloody spurts of stylized mayhem. Milton drifts through various small southern towns populated entirely with louts and sluts, leaving behind a trail of bodyparts as he rushes to confront the cult leader (Billy Burke) who abducted his granddaughter, and who intends to offer her up to the Dark Lord at the next full moon.



Along the way he picks up a sidekick, Piper (Amber Heard), a pugilistic potty-mouth in daisy dukes, included in the film for the very express purpose of giving us something pretty to look at betwixt the gory shootouts and car chases – a considerate gesture on the part of the filmmakers, truth be told. She is, however, only tangentially related to the plot. Which would be a problem if plot were a priority.



Drive Angry’s holy triumvirate of sex, violence, and muscle cars merges into one unified, splatter-drenched whole during the film’s climax, in which Milton launches his ’69 Dodge Charger into the center of an orgiastic cult gathering, picking off with a shotgun the few revelers he can’t run over, before finally following through on his pledge to drink a bottle of beer from the skull of his dead nemesis. This is actually one of the film's more endearing moments.



Cage, for his part, has a few moments of inspired batshitry, my favorite being a scene in which he enjoys a bizarre, sexually charged exchange with a randy waitress before pulling her in for a sloppy French kiss, but for the most part his eccentricity is disappointingly muted. He’s more of a grim gunslinger out of the Sergio Leone mold in Drive Angry, shooting much and saying little, which doesn’t leave much room for those manic outbursts I’ve come to regard with such genuine affection.



Slyly stealing the show from Cage in Drive Angry is the man who pursues him, The Accountant, played by esteemed character actor William Fichtner. A sort of bounty hunter sent by the devil to bring Milton back to hell, The Accountant moves with a kind of creepy grace, his utter disregard for conventions of personal space throwing every character he encounters off-balance. Fichtner’s wry observations are the comedic highlight of a movie that tries hard to ape the dark, offbeat humor of Tarantino's Death Proof, but falls woefully short in the end