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My Big Fat Greek Wedding 2 offers a comedy alternative for adults who don’t fancy Zootropolis.
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In any case, cinema bookers now have big hopes pinned on the arrival this Friday of Batman v Superman: Dawn of Justice, plus Disney Animation’s Zootropolis. These comparisons are actually not that valid, as differences in the dating of Easter have caused disparities in the release calendar. Weekend takings are 33% down on the previous frame, and also 32% down on the equivalent session from 2015, when Home and Divergent sequel Insurgent were the top new entries. Both should enjoy a healthy afterlife in film clubs. The Hateful Eight, with £7.39m, recently overtook The Danish Girl, on £7.36m. Two films that picked up acting nominations but missed out on best picture at the Oscars are also neck and neck. Brooklyn is still chugging away in select cinemas, despite becoming available on DVD three weeks ago. Three of the best picture Oscar nominees are crowded near this benchmark, with The Big Short (on £5.85m) overtaking Brooklyn (£5.84m) at the weekend.
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Spotlight cracked £6m at the weekend, with takings of £70,000 pushing it to £6.06m. The Revenant will continue to play second-run cinemas and film societies, and could conceivably catch The Martian, which is currently the biggest-grossing of all the best picture Oscar nominees in the UK (with £23.59m). The Revenant crossed £23m, for example, with takings of £70,000 pushing it to £23.03m. Venue capacity was 950 people.Ī few of the awards-season titles achieved personal milestones at the weekend. The event ran for 25 nights over five weeks at the fictional Burpelson Air Base (in fact an abandoned factory warehouse in south London), generating box office of £1.24m – just under £50,000 per night. The latest edition of Secret Cinema: Tell No One ended its run on Sunday, and the title on this occasion was revealed to be Stanley Kubrick’s Dr Strangelove. MetaCritic offers it a score of 62/100, although that includes the Guardian’s two-star Toronto film festival review rather than Peter Bradshaw’s subsequent four-star assessment. Reactions to High-Rise have polarised, with 5.4% of IMDb users awarding it 1 out of 10, and 15.2% grading it 10.
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It has already overtaken the UK lifetime total of Kill List (£265,000) and will cruise past Sightseers’ final cume (£662,000). High-Rise, from established source material and starring Tom Hiddleston, Sienna Miller, Elisabeth Moss and Luke Evans, is significantly Wheatley’s biggest film, by budget, scale of release and box office. Even allowing for the revenue split with the theatres, and Paramount’s marketing costs, that puts 10 Cloverfield Lane well along the road to profitability. The film has already grossed $45m in US cinemas. On the other hand, a £1.60m UK debut for a relatively low-budget genre film, essentially populated by three actors, none of them marquee names, and largely set in a basement – most studios would like the economics of that proposition.
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Obviously the comparison doesn’t flatter 10 Cloverfield Lane, since the number is less than half its predecessor, on 26% more screens, and with cinema tickets at least 30% more expensive than in 2008. This compares with a debut of £3.49m from 386 cinemas for Cloverfield back in February 2008. The result: 10 Cloverfield Lane opened in the UK with £1.60m from 488 cinemas. In other words, whatever intriguing delight 10 Cloverfield Lane was offering, it wouldn’t be all-out monster mayhem for 100 minutes. On the other, Paramount made it clear that this was a “spiritual successor”, not a sequel, to Cloverfield, that the film had been repurposed from a kidnap thriller screenplay called The Cellar, and was achieved with a lower production cost than its predecessor. On the one hand, it has the value of the Cloverfield brand, reinforced by the cachet of producer JJ Abrams. Predicting box office on 10 Cloverfield Lane wasn’t easy.