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Tag: Jackass: Best and Last

  • Weekend Box Office: Minions & Monsters falls flat, Young Washington surprises

    Featured image Weekend Box Office Minions Monsters falls flat Young Washington surprises

    The Fourth of July weekend proved to be a rollercoaster for Hollywood, delivering some nostalgic triumphs and other colossal collapses. While some films soared, others—particularly those relying on beloved franchises—stumbled dramatically, reminding us just how volatile the box office can be.

    One of the biggest disappointments came from Universal and Illumination Entertainment. The seventh entry in the Despicable Me”>Despicable Me universe, Minions & Monsters, failed to meet expectations. While early results were promising, the film ended up with a disappointing domestic total of just $36.4 million.

    This performance starkly contrasted with other family favorites. Toy Story 5″>Toy Story 5 managed to maintain some momentum, posting a strong opening of $31 million. Although it saw a steep decline week-to-week, its overall gross remains massive, currently standing at $366 million domestically, with projections pointing toward even higher totals.

    Amidst the family film struggles, other tentpoles faced serious headwinds. DC’s Supergirl”>Supergirl continued its downward trend, losing a staggering 74% of its audience in week two and earning only $9.6 million for a domestic total of $58 million. Audiences seemed to be actively rejecting the superhero flick.

    On the flip side, some independent and auteur projects found significant success. Steven Spielberg’s latest offering, Disclosure Day”>Disclosure Day, finally broke the $100 million mark this weekend, bringing its domestic total to $105 million.

    The world of YouTube content also saw some impressive earnings. Backrooms”>Backrooms earned another $3.3 million and accumulated a massive $190 million domestic total, sparking hopes that the series could soon reach the $200 million milestone.

    Perhaps the biggest surprise of the weekend was the historical epic Young Washington”>Young Washington from Angel Studios. The film grossed a respectable $20.8 million, surpassing even some previous holiday debuts and earning critical acclaim with an A CinemaScore.

    Meanwhile, other films experienced their own mixed fortunes. Johnny Knoxville’s Jackass: Best and Last”>Jackass: Best and Last suffered a dramatic decline, achieving a disappointing domestic total of $14.69 million.

    In the action genre, the run for Scary Movie”>Scary Movie continued strongly, netting $113 million worldwide and an impressive domestic total of $106 million. Also performing well was A24’s limited release, The Invite”>The Invite, which posted a terrific $28,000 per-screen average on 800 screens.

    Credit: JoBlo

  • “Minions & Monsters” Box-Office Starts Soft

    Featured image Minions Monsters BoxOffice Starts Soft

    The box office landscape is proving to be a wild and unpredictable place, where some animated giants soar while others tumble dramatically. As we look at the recent performance of major releases, it seems audiences are demanding a little more from their cinematic experiences—especially when it comes to big studio spectacles.

    One prominent example is Illumination and Universal Pictures’ latest offering, “Minions & Monsters.” While expectations were set quite high, the film has delivered a respectable showing. It pulled in $16.4 million on Friday and is currently positioned to head toward a three-day total of $39.5 million, with estimates suggesting a five-day holiday weekend haul of $64.5 million. Though this performance is solid, it remains on the lower end compared to the forecasts that suggested much larger numbers.

    Internationally, however, the film is certainly thriving, having already accumulated an impressive $100 million to date, suggesting a strong global appetite for the animated mayhem.

    Meanwhile, other major contenders are navigating a starkly different terrain. The world of family-friendly blockbusters is seeing some significant shifts. “Supergirl,” for instance, has seen a substantial freefall, slipping to fourth place with just $9 million across three days. This represents an astonishing 76% drop from the previous weekend, leaving many wondering if recent releases are pulling attention away from superhero cinema.

    Despite the dip, family franchises continue to hold their ground. Disney-Pixar’s “Toy Story 5” is comfortably in second place, maintaining a massive total of $371.3 million so far. Projections indicate this film is set to deliver a strong third weekend, potentially bringing in between $32 and $36 million.

    Beyond the major animated hits, some surprising debuts have caught the eye. Angel Studios’ biopic “Young Washington” made an unexpectedly strong start, earning $18 million for its three-day run and exceeding initial projections. This film garnered headlines not only for its success but also for the director’s candid comments regarding the use of generative AI in the creative process.

    Other titles are certainly experiencing their own turbulence. “Obsession” saw a sharp decline, dropping 47% in its eighth week to earn $5.1 million. This steep drop is being attributed partly to the film hitting platforms like PVOD earlier this week, illustrating how rapidly market dynamics can shift.

    Even some action-oriented films faced tough competition. “Jackass: Best and Last” experienced a significant fade, dropping 65% in its second weekend for a total of $2.95 million across three days, underscoring the competitive nature of the current theatrical market.

    Credit: Dark Horizons

  • Inside the Jackass: Best and Last Premiere: The Whole Crew Reflects on an Era, and the Classic Cartoons That Inspired It

    Featured image Inside theJackass Best and LastPremiere The Whole Crew Reflects on an Era and the Classic Cartoons That Inspired It

    The curtain is finally drawing closed on an era of mayhem, as the legendary cast of Jackass prepares for their grand finale with the film Jackass: Best and Last in theaters. With aging inevitably making it unwise to keep pushing bodies to their limits—a relentless pursuit they have maintained for nearly three decades—it is time for Johnny Knoxville, Steve-O, Wee-Man, Danger Ehren, Poopies, and the rest of the gang to hang up their crutches.

    To celebrate this wild conclusion, the entire group gathered for a retrospective at the Los Angeles premiere of Best and Last. It was a celebration not just of a movie, but of a career defined by chaotic stunts and unforgettable personalities.

    The atmosphere was pure pandemonium, filled with nostalgia and laughter as the veterans shared stories behind the scenes. Ryan Culterera, a massive fan who was present at the red carpet event, was thrilled to witness the spectacle, from Steve-O’s signature stunts to appearances by characters like Larry, the android who famously gave Steve-O a prostate exam in the film.

    The Blueprint for Beautiful Chaos

    Beyond the physical comedy, the crew offered fascinating insights into where their chaotic ideas originated. Johnny Knoxville revealed that the foundation of Jackass was built upon cinematic history. He cited classic silent film stars—Harold Lloyd, Charlie Chaplin, and most importantly, Buster Keaton—as key influences who famously incorporated daring stunts into their comedies.

    But the source of the truly anarchic spirit ran deeper. Knoxville admitted that much of his creative inspiration stemmed from the simple world of animation, pointing to the classic cartoon pairing of Tom & Jerry as a primary wellspring for many of the outrageous scenarios they devised.

    Reflecting on their journey, Knoxville shared a poignant piece of wisdom directed toward his younger self: “I wish I didn’t know what you’re about to learn.” It was a reminder that even those who thrive on absurdity are constantly learning and evolving.

    A Family Reunion of Legends

    The premiere served as more than just a movie launch; it was a complete family reunion on the red carpet. The event brought together virtually the entire franchise, including classic cast members alongside newer faces such as Rachel Wolfson and even Phil and Anne Margera, who brought their son Bam into the fold. This gathering highlighted that the legacy of Jackass extends far beyond the stuntmen themselves.

    The interviews captured at the event offered a candid look at an era defined by extreme comedy and enduring friendship. It confirmed that while the physical antics may fade, the creative spirit—rooted in silent cinema and classic cartoons—continues to inspire.

    Credit: JoBlo

  • Supergirl | Jackass: Best and Last | Steamboat Bill, Jr. (1928)

    Where Hollywood Meets History: A Deep Dive into Cinema with Truth & Movies

    In a world constantly bombarded by new releases and fleeting trends, finding time for a serious cinematic conversation can feel like a luxury. But what happens when you combine the latest blockbusters with the enduring magic of classic filmmaking? Enter Truth & Movies, a podcast that proves there is plenty to unpack in the vast universe of cinema.

    This week, the discussion has been particularly vibrant, blending contemporary pop culture with cinematic history. The conversation opened with a look at the current cultural phenomenon embodied by Craig Gillespie’s Supergirl, exploring how modern superhero narratives capture and redefine storytelling in the digital age.

    But the show doesn’t stop there. The podcast takes a delightful turn into the realm of comedy and stunt work with an exploration of Jackass: Best and Last, examining how physical humor translates onto the big screen and resonates with audiences today.

    For those who appreciate the craft behind the spectacle, the conversation shifts seamlessly to the golden age of cinema. The film club segment invites listeners back in time, revisiting the timeless genius of Buster Keaton and his iconic silent masterpiece, Steamboat Bill, Jr. from 1928.

    These discussions are anchored by a brilliant lineup of guests—including Leila Latif, Ada Enechi, and Anna Stafford—who bring diverse perspectives to the table, ensuring that every film, whether new or old, is viewed through a fresh and engaging lens. They don’t just review movies; they dissect the art, the history, and the cultural impact that shapes our world.

    Truth & Movies serves as more than just movie chatter; it’s an invitation to appreciate the breadth of film culture, bridging the gap between the latest cinematic hits and the foundational works that have shaped storytelling for generations. If you are looking for insight, wit, and a deep appreciation for the craft of filmmaking, this podcast is your essential guide.

    Credit: Little White Lies

  • Weekend Box Office: Supergirl crash lands with a lower opening than The Marvels

    When you don’t expect it, you don’t get it. This weekend’s theatrical performance for Supergirl certainly delivered a shockwave, though perhaps not in the way anyone predicted. Opening at $38 million, the film lands among the most disappointing launches seen for a major superhero movie, suggesting that while the DC Universe is ambitious, the execution needs some serious tuning.

    It debuted below other massive hits, including The Marvels, which managed a much stronger opening of $46 million, and even trailed The Flash, another cinematic event that launched with $55 million. For a project reported to have a production budget nearing $170 million before marketing costs, this result signals a significant challenge for DC Studios and Warner Bros. finding theatrical momentum.

    The disappointment extended beyond the opening weekend numbers. The film earned a weak B CinemaScore, indicating that word-of-mouth has not been as enthusiastic as hoped, setting the stage for potential drop-offs in subsequent weekends.

    This performance is just one note in what has become a particularly challenging year for Warner Bros. Despite some respectable performers like Wuthering Heights, the studio’s slate has struggled to achieve consistent success. Recent releases have faced headwinds; films such as The Bride and They Will Kill You failed to connect with audiences, while even some big sequels, like Mortal Kombat II, underperformed relative to expectations.

    Meanwhile, the entertainment landscape offers a stark contrast. Disney has managed to maintain its dominance by holding onto the top spot with Toy Story 5. That film posted a solid 56% drop in its second weekend but still amassed $70 million, demonstrating remarkable staying power and a strong domestic total of $297 million.

    Other releases have also shown resilience. The film Obsession continued its impressive run, pushing its domestic total to an outstanding $233 million despite a moderate drop in gross. Even specialty films showed mixed results; while some hit major snags, others found unique footing. For instance, A24’s Backrooms added another $4.3 million to its domestic haul, reaching $184 million.

    On the other side of the spectrum, some films struggled significantly to find an audience. The franchise-low opening for Jackass: Best and Last at $8.4 million suggests audiences may be ready to move past long-running series. Similarly, some specialized releases saw major declines; A24’s The Death of Robin Hood plunged 79% in weekend earnings, and Neon’s horror film Leviticus collapsed by 64%.

    Even in the world of global franchises, performance varies widely. Disney’s The Mandalorian and Grogu, while a beloved title, is now officially the lowest-grossing Star Wars movie ever, achieving a $175 million domestic total. The anime sector also faces hurdles; recent releases like Bleach: Thousand-Year Blood War – The Calamity opened modestly at $1.9 million.

    The theatrical experience is clearly fractured this season. While some highly curated films, such as Olivia Wilde’s The Invite, delivered exceptional per-screen value, many other special releases struggled to capture the public imagination. As studios navigate this complex landscape, it remains clear that while spectacle is king, sustainable success requires both ambition and careful connection with the audience.

    Credit: JoBlo

  • “Supergirl” Flies To A $38 Million Debut

    Blockbuster Bonanza: How Toy Story 5 Smashed Expectations and Redefined Box Office Rankings

    The cinematic world is buzzing, fueled by massive weekend returns, and at the top of the charts, Disney and Pixar’s Toy Story 5 continues its stellar performance. The film has cemented its status as a global phenomenon, pulling in an estimated $70 million domestically and a further $89.1 million overseas over the second weekend. After just ten days, the worldwide total is a staggering $585 million.

    This success signals that the franchise is not just surviving but thriving. While domestic numbers saw a slight dip of 56% compared to the previous weekend—matching the performance of Incredibles 2—analysts are now predicting that this installment will be the most successful entry in the entire Disney-Pixar lineage to date.

    The sheer momentum generated by the animated hit allowed other major releases to jockey for position. Warners & DC’s Supergirl leaped into second place, defying earlier projections and reportedly setting up a robust $38 million domestic opening weekend. This jump underscores the power of massive IP in the current market.

    Meanwhile, other films continue to make waves across various genres. The horror landscape remains competitive, as Obsession held firm in the top spots with a further $9.8 million domestically, bringing its total to $234 million. This placed it above even the legendary The Exorcist, securing its spot as the sixth highest-grossing horror film of all time in the United States.

    In a different corner of the box office, comedies also contributed significantly to the haul. Jackass: Best and Last debuted for $8.4 million, suggesting that while nostalgia still drives strong attendance, the franchise’s peak glory days may indeed be behind it.

    Disclosure Day rounded out the top five with $7.8 million, demonstrating a noticeable drop of 56% in its third weekend. These results paint a picture of a market where massive family franchises and compelling storytelling continue to dominate the conversation.

    Looking at the broader domestic landscape, the first half of the year has seen an overall 15% increase in box office gross compared to last year, though this figure is slightly below the record pre-pandemic high set in 2019. Adding another layer of excitement, a biopic titled Michael has recently surpassed Oppenheimer, claiming the title of the highest-grossing biopic of all time.

    Credit: Dark Horizons

  • The Last Jackass Movie Opens With a Painful Box Office Fall

    Millennials recently sought refuge from the present in a dose of pure, unadulterated nostalgia, flocking to theaters to see Jackass: Best and Last. The film arrived carrying the heavy weight of a beloved franchise, promising the familiar slapstick and stunts that defined its history.

    But when it came time for the box office results, reality proved far less forgiving than the memories evoked by the movie itself. Despite the wave of sentimental interest, the sequel struggled to capture the masses. The film’s gross revenue fell significantly short of the franchise’s peak performance, falling below one-fifth of the high-water mark set by the third installment over a decade ago.

    The entire Jackass franchise has built its success on leveraging this potent sense of nostalgia, a strategy that has clearly paid off in the long run since the initial series debuted on MTV in the early aughts and branched out to the big screen. One wonders how many times audiences can be courted with the promise of a final, cathartic ride down memory lane before the appeal wanes.

    This latest entry attempts to lean heavily into that legacy by bringing back some familiar faces, including veterans Johnny Knoxville and Steve-O. They anchor the cast in a familiar style, but there is one notable absence: Bam Margera, who remains conspicuously missing from the group for the second consecutive film.

    Ultimately, while the appeal of revisiting these iconic antics remains strong among certain demographics, the challenge for the franchise moving forward lies in balancing that deep-seated nostalgia with a compelling cinematic experience that can generate substantial box office returns in today’s competitive landscape.

    Credit: Collider

  • Jackass: Best and Last Almost Had a Bit With This A-List MCU Star

    The reality comedy franchise known for its outrageous stunts is back and ready for laughs: Jackass: Best and Last is now playing in theaters. With a Fresh score of 87% on Rotten Tomatoes, the film proves that pure, unadulterated chaos still holds massive appeal.

    But beyond the explosions and infamous antics, this latest installment features a tantalizing behind-the-scenes moment involving a major Hollywood star. Entertainment journalist Eric Goldman revealed that an A-list MCU player was nearly featured in the chaotic production of the film, adding a layer of unexpected celebrity intrigue to the mayhem.

    The star in question is Pedro Pascal, celebrated for his role in Fantastic Four: First Steps. It turns out, Pascal was originally slated to participate in Jackass: Best and Last, but circumstances intervened when he fell ill at the last minute, forcing a change in casting. This near-miss explains his surprise appearance at the film’s recent red carpet premiere.

    A Raucous Celebration of Chaos

    The movie itself is a joyous celebration of mischievous camaraderie and spectacular stupidity. Directed and produced by Jeff Tremaine, Jackass: Best and Last brings back the beloved crew, including Johnny Knoxville, along with a sprawling ensemble cast such as Steve-O, Chris Pontius, Wee Man (Jason Acuña), and Danger Ehren (Ehren McGhehey). The film is packed with the greatest hits and biggest laughs from the franchise’s history.

    The official synopsis promises an unforgettable cinematic experience: “Johnny Knoxville and the gang return for one final fling at the big screen. Featuring all-new stunts and stupidity along with the greatest hits and biggest laughs from the past, the film is a joyously raucous celebration of all the mischievous camaraderie that you’ve come to love and expect from these idiots over the past 25 years.”

    Whether you are a longtime fan of reality stunts or simply looking for a guaranteed dose of cinematic absurdity, Jackass: Best and Last delivers. Prepare to grab your dumb little buddies and experience what promises to be one of the most laugh-out-loud cinematic events of the year.

    Credit: ComingSoon.net

  • “Supergirl” Scores $7.8M In Previews

    DC Studios’ upcoming cinematic event, Supergirl, is already setting some serious box office benchmarks. The film made a strong debut at the global level, netting $13 million in its first day and pulling in $7.8 million from domestic previews.

    This opening performance places the film firmly in the spotlight of blockbuster success. The $13 million first-day total is competitive with major cinematic debuts, sitting right alongside Steven Spielberg’s recent opener, Disclosure Day, which also made $12 million on its debut.

    Looking at preview numbers, the film demonstrates strong audience anticipation. The $7.8 million in previews puts it just above other major releases like Black Adam, which pulled in $7.6 million, but still trails behind massive hits such as The Flash, which posted a $9.7 million opening.

    While the numbers are exciting, domestic projections have seen some adjustment. Initial forecasts of over $50 million have been revised down to a more grounded estimate in the $40 million range.

    Despite the mixed reviews from critics, the audience reaction has been decidedly positive. Audience scores on Rotten Tomatoes stand at 76%, significantly higher than the 57% rating from critics, suggesting that the public is ready for this superhero spectacle.

    The excitement in the box office extends beyond Supergirl, as other major tentpoles are also vying for attention. Jackass: Best and Last opened alongside it, grossing $1.2 million from previews and is expected to hit the $10 million mark this weekend—matching its own budget.

    Meanwhile, other anticipated films are poised for massive weekend success. Toy Story 5 is widely expected to dominate the domestic market, with projections suggesting a further $90 million gross across its second weekend.

    With the current worldwide totals tipped into the over $80 million range, it seems the superhero and animated landscape is delivering substantial entertainment value for audiences alike. It’s clear that DC Studios has delivered a high-octane opening, leaving fans eager for what’s next.

    Credit: Dark Horizons

  • Jackass: Best and Last Review – the last hurrah for the fellas?

    The end of an era is often a messy one, but when it comes to some of the most enduring pop culture phenomena, even a final hurrah can still deliver chaos. The latest installment in the franchise, Jackass: Best and Last, arrives not just as another collection of stunts, but as a reflective look at a group of misfits who have somehow managed to survive decades of juvenile mayhem.

    Whether you adore the raw energy of Johnny Knoxville and his crew or find their brand of physical comedy grating, the film demands a certain kind of audience. It is a film built on a specific, delightfully abrasive brand of humor, focusing on the consequences of extreme antics. While some critics might argue it doesn’t reach the zenith of the franchise, for those who appreciate Knoxville’s vision and the sheer absurdity of their lives, this movie serves up a satisfying final act.

    The film manages to blend nostalgia with the reality of aging in a uniquely crass way. We see the core group—Johnny Knoxville, Steve-O, and the rest of the gang—dealing with new levels of indignity. The humor pivots around their experiences, exploring the inevitable physical toll that comes with a lifetime of outrageous pranks.

    But what truly defines this movie is the commitment to the gross-out factor. The film doesn’t pull any punches when it comes to pushing boundaries. New sequences feature increasingly bizarre and visceral stunts, including unforgettable moments involving bodily humor and completely outlandish scenarios that redefine physical comedy.

    One sequence stands out for its sheer, uncompromising absurdity: a robotic intervention involving Steve-O, complete with surprisingly slimy lubricants used during a prostate exam. Yet, the most gnarliest moments involve traditional chaos, like the communal consumption of questionable substances and highly imaginative bodily twisting routines that leave audiences gagging with laughter.

    At the heart of the film is Steve-O’s journey, as he endures much of the physical abuse. He admits his desire for this to be a finale, committing fully to the chaotic experience. Despite the ridiculousness, the chemistry between the remaining cast remains palpable; they still feel like a cohesive, if completely unhinged, family.

    While some might argue that this installment doesn’t claim the title of the franchise’s absolute best, it succeeds brilliantly as a culmination. It offers a retrospective look at legendary stunts while humorously juxtaposing them with the reality of older participants. It is a celebration of enduring chaos and friendship.

    Ultimately, Jackass: Best and Last lands as a perfect send-off—a final, unforgettable celebration before the gang finally packs up their equipment. It’s less about groundbreaking stunts and more about the legacy of the mayhem itself, proving that some messes are worth remembering.

    Credit: JoBlo