Scary doll in frilly dress rules box office

Today, in honor of creepy Annabelle from The Conjuring franchise earning the #1 spot with her prequel Annabelle: Creation, we break with our usual box office format. This week's box office will be represented entirely by dolls. Which of these movies have you seen?

01 NEW $35 million

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More TIFF Lineups: Midnight Madness and Platform

Another day another festival announcement. TIFF keeps adding to the festival. Even though they've reduced the number of films this year it's still SO MANY TO CHOOSE FROM IN EACH SECTION. Herewith the Midnight Madness and Platform choices. Let us know which ones you're most curious about!

Gael García Bernal in the French film "If You Saw His Heart"

PLATFORM
This section of 12 films, which tends to focus on directors in early stages of their careers, is actually juried (though TIFF isn't known for awards really outside of "People's Choice" which tends to have a strong correlation to eventual Best Picture nominations at the Oscars).

“Platform is the place to look for the distinct stamp of today's most interesting directors as they establish their reputations.
- -Cameron Bailey, TIFF's artistic director

The three-person jjury for 2017's Platform are directors Chen Kaige (China), Malgorzata Szumowska (Poland) and Wim Wenders (Germany)

• Beast (UK) A troubled woman becomes involved with a suspected killer in this debut from Michael Pearce [WORLD PREMIERE]
• Brad's Status (US) Screenwriter Mike White returns to the director's chair for this story about a man (Ben Stiller) comparing himself unfavorably to friends while touring colleges with his teenage son [WORLD PREMIERE]...

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Emmy FYC: Eva Green and Christian Camargo, "Penny Dreadful"

Team Experience shares their dream Emmy nominations. Consider it an FYC as nomination ballots are out...

by Dancin' Dan

Showtime's now cancelled gothic horror show Penny Dreadful has never been one to receive much awards love, even when it should have been (has there been a better villain on any television show in recent memory than Helen McCrory's Evelyn Poole in the show's second season?). Part of this had to do with timing: Airing always began around June, near the time the Emmy nominations for the previous season were voted on, meaning that by the next nominating period, it was long forgotten. The other part is the nature of the show itself. Emmy has rarely favored genre shows, much less ones as bloody and occasionally over-the-top as this.

Sadly this has meant that the series's leading lady, Eva Green, has been ignored despite giving the most committed, most fearless, and best performance on television...

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Box Office: My "Secretary" Diana and My Cousin Rachel

By Nathaniel R

Universal's attempted monster movie franchise launch didn't go so well. The Mummy met scathing reviews and a disappointing opening weekend. Now, a $32 million launch would be major news for many films but not for a $125 million budgeted feature starring Tom Cruise that is intending to launch a whole "universe". Not everything can be Marvel's Cinematic Universe, Hollywood!

In the absence of a strong competitor and on terrific word of mouth (no small thing), Wonder Woman continued her reign at the box office. Given a relatively small second week drop (43% while DC's usual superhero sophomore frame drop is 67%) the Amazon princess is looking to join the $300 million club stateside which will put her right up there with Supes and Batman. DC's "Big Three" indeed.

Charts and further comments after the jump...

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Review: "It Comes at Night"

by Chris Feil

After last year’s Krisha, Trey Edward Shults returns to the horror of family dynamics with post-apocalyptic nightmare It Comes At Night. This time he’s equipped with higher production value and more familiar faces than that astute micro-budgeted debut, though Night is just as personal. His resulting sophomore feature is part Greek tragedy, part vague social polemic, and one of the most terrifying films in several years.

Set in a remote, wooded mini-mansion, a family has made their home a fortress from some unspecified apocalypse. The elderly father of Sarah (Carmen Ejogo) has fallen “sick”, leaving her husband Paul (Joel Edgerton) and son Travis (Kelvin Harrison Jr.) to dispatch of him for their own safety. The desperate invasion of another family (led by Christopher Abbott and Riley Keough) tests both the reclusive family’s empathy and rigorously protected lifestyle. Meanwhile, Travis is having increasingly vivid visions of the encroaching malignant threat that test his (and our) sense of reality.

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