Review: The 15:17 To Paris

by Eric Blume

Has Clint Eastwood lost his mind?  That’s the thought that swirled through my mind for the first hour of 15:17 To Paris, because every choice is so shockingly wrong-headed that it feels unfathomable. Say what you will about Eastwood’s films, but even his detractors would need to admit that his movies are generally well-acted and sure-footed.  I had to stay through the end credits not to see the name of the cinematographer, but to ensure that there actually was one.  In fact, it’s Tom Stern, who has shot most of Eastwood’s films.  Out of respect for these two gentlemen and their intelligent work together in the past, let's assume that on this film they were attempting to take Eastwood’s infamously brisk, limited-takes directorial and shooting style to its ultimate breakneck limit.  Their new film looks uglier and less artful than your average TV procedural...

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What did you see this weekend?

by Nathaniel R

Weekend Box Office (Feb 9th-11th)
W I D E 800+ screens	L I M I T E D excluding prev. wide
1. 🔺 Fifty Shades Freed $38.8 NEW REVIEW	1. 🔺 La Boda de Valentina $1.1 on 331 screens NEW
2. 🔺 Peter Rabbit $25 NEW	2. 🔺 Pad Man  $760k on 152 screens NEW
3. 🔺 The 15:17 To Paris $12.6  NEW	3. 🔺 Oscar Nominated Short Films $615k on 180 screens NEW
4. Jumanji $9.8 (cum. $365.6)	4. 🔺  A Fantastic Woman $121k on 20 screens (cum. $232k) CAPSULE | REVIEW
5. The Greatest Showman $6.4 (cum. $146.5) REVIEW | ANOTHER HIT MUSICAL	5. 🔺 The Insult $109k on 50 screens (cum. $454k)

Fifty Shades Freed  continued its franchise's box office power by opening at #1 again. This weekend's bow also brought the franchise's total box office haul over the billion dollar mark. That's a lot of green for something barely blue...

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