ITV

Category: Movies

  • &pictures to premiere ‘Transformers: Age of Extinction’ on 2 December

    &pictures to premiere ‘Transformers: Age of Extinction’ on 2 December

    MUMBAI: Enviable structures, remarkable visual effects and electrifying action sequences- The iconic Transformers series has never failed to flabbergast the viewers. To flavor up your weekend, &pictures, Naye India Ka Blockbuster Movie Channel is all set to premiere the blockbuster film Transformers: Age of Extinction on Friday, 2 December at 8 pm. The film is the fourth installment and one of the highest grossing film of the popular live-action franchise.

    Directed by Michael Bay, the film is a sequel to the 2011 hit ‘Transformers: Dark of the Moon’ and starts five years after the Battle of Chicago. Transformers, who apparently have been granted refuge, are hunted down by Harold Attinger (Kelsey Grammer), an undercover officer. He believes that the entire Transformers’ clan should be eliminated from Earth and is helped by Lockdown. In order to escape them, Optimus Prime (Autobots leader) and his gang turn to a mechanic (Mark Wahlberg), his daughter (Nicola Peltz), and her back street racing boyfriend (Jack Reynor) for help. What follows next is an exciting and breath-taking journey of the Autobots fighting the Decepticons to save the planet.

    Backed by ace graphics and swanky cars, ‘Transformers: Age of Extinction’ boasts of new characters and fascinating action sequences. A technical marvel, the film creates intrigue in the minds of viewers stating it to be the end for Autobots. Is it truly their final encounter? Catch the exciting battle between the Autobots and the Decepticons on Friday, 2 December at 8pm.

  • CineAsia to honour Akella; feature Shyamalan’s ‘Split’

    CineAsia to honour Akella; feature Shyamalan’s ‘Split’

    MUMBAI: The Motion Picture Association Asia-Pacific Copyright Educator Award will be bestowed on comScore India managing director, theatrical, Rajkumar Akella, at CineAsia in Hong Kong. comScore which is an American media measurement and analytics company providing marketing data and analytics to many of the world’s largest enterprises, media and advertising agencies, and publishers.

    The annual CineAsia convention will be held 6-8 December at the Hong Kong Convention & Exhibition Centre, wherein awards will be given away to the deserving. CineAsia is the platform for the those seeking to learn the ins and outs of owning and operating cinemas in the booming Asia-Pacific region.

    Major studio representatives will be in Hong Kong with presentations of their 2017 product: Sony Pictures International, Paramount Pictures International, Twentieth Century Fox International, Universal Pictures International, Walt Disney Studios Motion Pictures International and Warner Bros. Pictures International, along with EuropaCorp. The lineup of feature screenings includes Fox’s NASA drama Hidden Figures, Disney’s South Seas animated adventure Moana, Warner Bros.’ Will Smith starrer Collateral Beauty, and Universal’s animated musical Sing and M. Night Shyamalan chiller Split.

    Seminars at CineAsia will cover a wide range of trending topics, including “Maximizing Business Performance Through Investments in Next-Generation Cinema Technology,” “Attracting Millennials and Reinventing Cinema,” “Driving Global Conversion to Laser Technology” and “Online Ticketing.” The National Association of Concessionaires and the International Cinema Technology Association, meanwhile, coordinated programming for “CineAsia University” on the tradeshow floor.

    NAC sessions will focus on topics such as putting the customer first, inventory issues, promotional tie-ins, and Coca-Cola’s suggestion on “refreshing the movies.” The ICTA’s Thursday lineup, meanwhile, covers in-theatre gaming and ticketing with the cloud.

    At Sony’s presentation, veteran Sony executive Noriaki “Dick” Sano will accept a Lifetime Achievement Award from CineAsia. This year’s awardees are — Mei Lee Koh, CEO of Golden Screen Cinemas, as “Exhibitor of the Year”; Walt Disney International as “Distributor of the Year,” with the prize accepted by David Kornblum, VP, international sales and marketing, APAC/Russia, and international film acquisitions; and CineAsia official sponsor GDC Technology as “Technology Innovator of the Year,” to be accepted by chairman and CEO Dr. Man-Nang Chong. The DLP Cinema® Marketing Achievement Award goes to Taiwan circuit VieShow Cinemas and its chairman, Dennis Wu.

    The show will finally honor groundbreaking Titanic and Avatar producer Jon Landau with the “CineAsia Visionary Award.”

  • CineAsia to honour Akella; feature Shyamalan’s ‘Split’

    CineAsia to honour Akella; feature Shyamalan’s ‘Split’

    MUMBAI: The Motion Picture Association Asia-Pacific Copyright Educator Award will be bestowed on comScore India managing director, theatrical, Rajkumar Akella, at CineAsia in Hong Kong. comScore which is an American media measurement and analytics company providing marketing data and analytics to many of the world’s largest enterprises, media and advertising agencies, and publishers.

    The annual CineAsia convention will be held 6-8 December at the Hong Kong Convention & Exhibition Centre, wherein awards will be given away to the deserving. CineAsia is the platform for the those seeking to learn the ins and outs of owning and operating cinemas in the booming Asia-Pacific region.

    Major studio representatives will be in Hong Kong with presentations of their 2017 product: Sony Pictures International, Paramount Pictures International, Twentieth Century Fox International, Universal Pictures International, Walt Disney Studios Motion Pictures International and Warner Bros. Pictures International, along with EuropaCorp. The lineup of feature screenings includes Fox’s NASA drama Hidden Figures, Disney’s South Seas animated adventure Moana, Warner Bros.’ Will Smith starrer Collateral Beauty, and Universal’s animated musical Sing and M. Night Shyamalan chiller Split.

    Seminars at CineAsia will cover a wide range of trending topics, including “Maximizing Business Performance Through Investments in Next-Generation Cinema Technology,” “Attracting Millennials and Reinventing Cinema,” “Driving Global Conversion to Laser Technology” and “Online Ticketing.” The National Association of Concessionaires and the International Cinema Technology Association, meanwhile, coordinated programming for “CineAsia University” on the tradeshow floor.

    NAC sessions will focus on topics such as putting the customer first, inventory issues, promotional tie-ins, and Coca-Cola’s suggestion on “refreshing the movies.” The ICTA’s Thursday lineup, meanwhile, covers in-theatre gaming and ticketing with the cloud.

    At Sony’s presentation, veteran Sony executive Noriaki “Dick” Sano will accept a Lifetime Achievement Award from CineAsia. This year’s awardees are — Mei Lee Koh, CEO of Golden Screen Cinemas, as “Exhibitor of the Year”; Walt Disney International as “Distributor of the Year,” with the prize accepted by David Kornblum, VP, international sales and marketing, APAC/Russia, and international film acquisitions; and CineAsia official sponsor GDC Technology as “Technology Innovator of the Year,” to be accepted by chairman and CEO Dr. Man-Nang Chong. The DLP Cinema® Marketing Achievement Award goes to Taiwan circuit VieShow Cinemas and its chairman, Dennis Wu.

    The show will finally honor groundbreaking Titanic and Avatar producer Jon Landau with the “CineAsia Visionary Award.”

  • Star power fades away, collections crumble

    Star power fades away, collections crumble

    *Writer-director Gauri Shinde followed her success of English Vinglish with Dear Zindagi. To her advantage, she had the reigning star, Shah Rukh Khan, along with an emerging star, Alia Bhatt, to boast of in the cast.

    However, the theme she chose was not quite identifiable with the Indian audience, that of a young girl needing a psychiatrist for various not-so-convincing reasons. But, having a star on your roaster also has its demands. So, instead of a typical shrink, we had Khan playing himself on screen.

    An enjoyable film about three fiercely independent girls living life on their own terms through the length of the film, it turns to Khan analysing Alia which, carries on what feels like indefinitely!

    With a limited screen engagement (850 screens), the film found its initial audience to a limited extent over the weekend but the returning audience did not seem to have much good to say about the film. The film had an opening day of about Rs 8 crore which, considering the face value, showed a skeptical attitude from the moviegoer. The film showed some improvement over Saturday and Sunday to close its opening weekend with about Rs 30 crore.

    *Moh Maya Money got a poor response at the box office.

    * Force 2, a sequel to Force (2011), showed a sign of overconfidence from makers. To make a sequel to a film that did not work in the first place defies logic unless, of course, you think that the title and a muscle-flexing hero can carry the franchise through.

    The film’s performance followed its poor opening day response and collections. The film collected Rs 25.9 crore in its first week.

    *Tum Bin 2, a sequel to 2001 Tum Bin, met with a disastrous outcome with first week collection of Rs 3.15 crore.

    *Rock On 2 managed a bare Rs 40 lakh in its second week to take its two week total to Rs 8.95 crore.

    *Ae Dil Hai Mushkil collected Rs 1.75 crore in its fourth week to take its four week tally to Rs 102.45 crore.

    *Shivaay collected Rs 1.6 crore in its fourth week taking its four week total to Rs 85.7 crore.

  • Star power fades away, collections crumble

    Star power fades away, collections crumble

    *Writer-director Gauri Shinde followed her success of English Vinglish with Dear Zindagi. To her advantage, she had the reigning star, Shah Rukh Khan, along with an emerging star, Alia Bhatt, to boast of in the cast.

    However, the theme she chose was not quite identifiable with the Indian audience, that of a young girl needing a psychiatrist for various not-so-convincing reasons. But, having a star on your roaster also has its demands. So, instead of a typical shrink, we had Khan playing himself on screen.

    An enjoyable film about three fiercely independent girls living life on their own terms through the length of the film, it turns to Khan analysing Alia which, carries on what feels like indefinitely!

    With a limited screen engagement (850 screens), the film found its initial audience to a limited extent over the weekend but the returning audience did not seem to have much good to say about the film. The film had an opening day of about Rs 8 crore which, considering the face value, showed a skeptical attitude from the moviegoer. The film showed some improvement over Saturday and Sunday to close its opening weekend with about Rs 30 crore.

    *Moh Maya Money got a poor response at the box office.

    * Force 2, a sequel to Force (2011), showed a sign of overconfidence from makers. To make a sequel to a film that did not work in the first place defies logic unless, of course, you think that the title and a muscle-flexing hero can carry the franchise through.

    The film’s performance followed its poor opening day response and collections. The film collected Rs 25.9 crore in its first week.

    *Tum Bin 2, a sequel to 2001 Tum Bin, met with a disastrous outcome with first week collection of Rs 3.15 crore.

    *Rock On 2 managed a bare Rs 40 lakh in its second week to take its two week total to Rs 8.95 crore.

    *Ae Dil Hai Mushkil collected Rs 1.75 crore in its fourth week to take its four week tally to Rs 102.45 crore.

    *Shivaay collected Rs 1.6 crore in its fourth week taking its four week total to Rs 85.7 crore.

  • Leading Korean filmmaker impressed by Rajini ‘Robot’; keen to co-produce with India

    Leading Korean filmmaker impressed by Rajini ‘Robot’; keen to co-produce with India

    NEW DELHI: Critically-acclaimed Korean filmmaker Kim Jee-Woon, whose action thriller ‘The Age of Shadows’ is the Closing Film for the International Film Festival of India, said it would “surely be great” to incorporate elements of cinema from both countries into each other’s films.

    Addressing the media in Panaji, he said he would like to mix the elements of Indian cinema like humour and other real life emotions into Korean films, he added.

    Kim said he has been greatly inspired by the stalwarts of Indian cinema like Satyajit Ray and his films like Pather Panchali and Aparajita among others. They have had a major impression on his style of film making. He would like to collaborate with the Indian film industry to make films on history and the Independence struggle in both the countries, he added.

    Jee-woon, who led successful films like “I Saw the Devil”, “The Last Stand” and “The Good, the Bad, the Weird”, was highly impressed with the Tamil superstar Rajinikanth’s “Robot” and would love to make a film like that some mix of historical drama.

    Lead actor Song Kang-Ho said he is honoured that their film – which is also the South Korean entry in the Oscars – has been selected as the Closing Film at the IFFI 2016 and he is hopeful that the times to come would see more critically acclaimed films from both India and Korea being screened for the people in both the countries.

    Set in Seoul and Shanghai, during the Japanese occupation in the late 1920s, the film depicts an intense drama that unfolds between a group of resistance fighters trying to bring in explosives from Shanghai to destroy key Japanese facilities in Seoul, on one side, and Japanese agents trying to stop them, on the other. A talented Korean-born Japanese police officer, who was previously in the independence movement himself, is thrown into a dilemma between the demands of his reality and the instinct to support a greater cause.

    Kim said his film is not an attempt to show action and violence on the screen but to depict intense emotions associated with the Korean Independence struggle against the Japanese occupation. He informed that he has tried his best to show these emotions through special sound effects and the ability of his actors to emote them on the screen.

  • Leading Korean filmmaker impressed by Rajini ‘Robot’; keen to co-produce with India

    Leading Korean filmmaker impressed by Rajini ‘Robot’; keen to co-produce with India

    NEW DELHI: Critically-acclaimed Korean filmmaker Kim Jee-Woon, whose action thriller ‘The Age of Shadows’ is the Closing Film for the International Film Festival of India, said it would “surely be great” to incorporate elements of cinema from both countries into each other’s films.

    Addressing the media in Panaji, he said he would like to mix the elements of Indian cinema like humour and other real life emotions into Korean films, he added.

    Kim said he has been greatly inspired by the stalwarts of Indian cinema like Satyajit Ray and his films like Pather Panchali and Aparajita among others. They have had a major impression on his style of film making. He would like to collaborate with the Indian film industry to make films on history and the Independence struggle in both the countries, he added.

    Jee-woon, who led successful films like “I Saw the Devil”, “The Last Stand” and “The Good, the Bad, the Weird”, was highly impressed with the Tamil superstar Rajinikanth’s “Robot” and would love to make a film like that some mix of historical drama.

    Lead actor Song Kang-Ho said he is honoured that their film – which is also the South Korean entry in the Oscars – has been selected as the Closing Film at the IFFI 2016 and he is hopeful that the times to come would see more critically acclaimed films from both India and Korea being screened for the people in both the countries.

    Set in Seoul and Shanghai, during the Japanese occupation in the late 1920s, the film depicts an intense drama that unfolds between a group of resistance fighters trying to bring in explosives from Shanghai to destroy key Japanese facilities in Seoul, on one side, and Japanese agents trying to stop them, on the other. A talented Korean-born Japanese police officer, who was previously in the independence movement himself, is thrown into a dilemma between the demands of his reality and the instinct to support a greater cause.

    Kim said his film is not an attempt to show action and violence on the screen but to depict intense emotions associated with the Korean Independence struggle against the Japanese occupation. He informed that he has tried his best to show these emotions through special sound effects and the ability of his actors to emote them on the screen.

  • Sony Max brings ‘No Talkies Nautanki Returns’ for media agencies

    Sony Max brings ‘No Talkies Nautanki Returns’ for media agencies

    MUMBAI: Sony Max gave Bollywood enthusiasts a reason to rejoice as it kick-started the third season of its flagship event, No Talkies Nataunki Returns.

    Organised exclusively for media agencies, this property is an absolute treat for movie buffs as it provides them an opportunity to participate in a national level competition wherein registered teams play ‘Dumb Charades’ on Bollywood films using hand gestures to enact and communicate with each other.

    The first round of this three-city event started in Bengaluru on 22 Nov had 13 teams participating from advertising and media agencies. This will be followed by Mumbai and Delhi with an attempt to find the ‘Filmy Deewana’. The closing night of the event will take place in Mumbai.

    The pre-activation buzz for the event is currently being held across renowned media agencies including Group M, Madison, OMD, Lodestar, Lintas and MPG, etc.

    Bollywood-themed characters are engaging with the office audiences in these agencies to play interactive games and drive registration. The participants can visit the microsite of the event on http://notalkies.sonymax.tv/ to register themselves.

    The city rounds of the event commenced in Bengaluru and was followed by Mumbai on 25 November coming to a close with Delhi on 2 December. The finale of the event will be hosted by the RJ Malishka on 9 December in Mumbai wherein the shortlisted winner teams from the three cities will battle it out to win the grand prize worth Rs 25,000 each.

    Sony Max Hindi Movie Cluster market communication senior VP Vaishali Sharma said, “The undying passion for Hindi cinema is what Sony MAX is synonymous with, and our flagship property ‘No Talkies Nautanki Returns’ takes this passion a notch higher. This is the third season of our initiative and we are excited as we bring agencies together to feel the magic of movies as we do. With a whopping 150 teams already registering this year with more to come, we aim to build stronger association with the agencies through the success of this initiative. Also Dumb Charades is an all-time fun game and our intent is also to provide them with an enjoyable get-together.”

  • Sony Max brings ‘No Talkies Nautanki Returns’ for media agencies

    Sony Max brings ‘No Talkies Nautanki Returns’ for media agencies

    MUMBAI: Sony Max gave Bollywood enthusiasts a reason to rejoice as it kick-started the third season of its flagship event, No Talkies Nataunki Returns.

    Organised exclusively for media agencies, this property is an absolute treat for movie buffs as it provides them an opportunity to participate in a national level competition wherein registered teams play ‘Dumb Charades’ on Bollywood films using hand gestures to enact and communicate with each other.

    The first round of this three-city event started in Bengaluru on 22 Nov had 13 teams participating from advertising and media agencies. This will be followed by Mumbai and Delhi with an attempt to find the ‘Filmy Deewana’. The closing night of the event will take place in Mumbai.

    The pre-activation buzz for the event is currently being held across renowned media agencies including Group M, Madison, OMD, Lodestar, Lintas and MPG, etc.

    Bollywood-themed characters are engaging with the office audiences in these agencies to play interactive games and drive registration. The participants can visit the microsite of the event on http://notalkies.sonymax.tv/ to register themselves.

    The city rounds of the event commenced in Bengaluru and was followed by Mumbai on 25 November coming to a close with Delhi on 2 December. The finale of the event will be hosted by the RJ Malishka on 9 December in Mumbai wherein the shortlisted winner teams from the three cities will battle it out to win the grand prize worth Rs 25,000 each.

    Sony Max Hindi Movie Cluster market communication senior VP Vaishali Sharma said, “The undying passion for Hindi cinema is what Sony MAX is synonymous with, and our flagship property ‘No Talkies Nautanki Returns’ takes this passion a notch higher. This is the third season of our initiative and we are excited as we bring agencies together to feel the magic of movies as we do. With a whopping 150 teams already registering this year with more to come, we aim to build stronger association with the agencies through the success of this initiative. Also Dumb Charades is an all-time fun game and our intent is also to provide them with an enjoyable get-together.”

  • Academy wants to expand relationship with India film industry

    Academy wants to expand relationship with India film industry

    MUMBAI: Former president of Academy of Motion Picture Arts and Sciences (AMPAS) and American Motion Picture executive and producer Sid Ganis has said that the Academy has been developing a close relationship with the Indian filmmakers.

    At the 47th International Film Festival of India (IFFI) celebrated in Goa, he stated that the academy had been trying to know the Indian celebrities and filmmakers since the past few years. The academy wanted to enhance and expand its relationship with the Indian industry.

    AMPAS preservationist Tessa Idlewine opined that the preference was given to Oscar-nominated films. Apart from that, movies which were unique, important and decaying were also preserved. Of the 37 films under the project, she added, 21 had been restored successfully. Idlewine also held a workshop on ‘Restoration of Satyajit Ray Preservation Project’ and said that the AMPAS was working continuously to save the artwork of the maestro and has saved his trilogy Apu, where the negatives of the films were almost burnt.

    Film Festival director Senthil Rajan added that the National Film Achieves of India (NFAI) and AMPAS would have had more collaboration to preserve, conserve and restore more number of Indian films in future.

    Both, Ganis and Idlewine also discussed about the 25-year old Active Preservation Program that started in 1991 and has four full-time preservationists. They also talked about the Academy vaults and the 92,000 film titles stored in them.