Saturday, April 5, 2025

Box Office Breakdown (Season 32 Round 8)

 




Mirror's Curse
Budget: $12,000,000
Total Box Office: $53,526,180
Total Profit: $29,111,171











Patient Zero
Budget: $33,000,000
Total Box Office: $78,285,838
Total Profit: $13,567,402











Fading Nights
Budget: $40,000,000
Total Box Office: $34,402,850
Total Profit: -$33,919,049









Box Office Facts
Mirror's Curse
Mirror's Curse is the third profitable Horror film in a row for writer Billy Cruder. Overall Cruder has written 12 horror films, exactly half of which (six) have managed to turn a profit.

Patient Zero
Cristin Milioti has two of her seven LRF appearances - The Kiss Quotient and now Patient Zero. While Patient Zero earned a profit of nearly $14 million, The Kiss Quotient lost nearly $23 million for the studio - which means she has a ways to go to be a profitable leading lady.

Fading Nights
Writer Jimmy Ellis' box office track record is not great on paper - with three of his four films losing hefty amounts of money at the box office (those three films combined for losses of $84 million). Thankfully Red Lantern Corps was so successful that he is still $113 million in the black for the season.




Genre Rankings
Mirror's Curse
Horror: #93
Supernatural: #29

Patient Zero
Horror: #76
Thriller: #83

Fading Nights
Crime: #60
Drama: #274



Season 32 Round 8
Total Box Office: $166,214,868
Total Profit: $8,759,524

Season 32 Totals
Total Box Office: $3,530,282,713
Total Profit: $580,496,782





Season 32 Summary
1. Red Lantern Corps : $647,663,032
2. Captain America: Winter's End : $636,096,655
3. Monopoly : $459,560,933
4. Gargoyles: A Tale Old as Time : $429,582,229
5. Scarlet Witch : $293,121,422
6. Phantasm: Awakening : $171,990,049
7. Songbird : $161,140,388
8. Escape : $103,248,405
9. Patient Zero : $78,285,838
10. An Irish Rendezvous : $60,209,570
11. The Ballad of Dwight Frye : $54,505,718
12. Mirror's Curse : $53,526,180
13. Dean : $44,090,859
14. Bigfoot : $43,830,645
15. The Vintner : $41,179,499
16. Sins of the Father : $40,588,621
17. Mr. Happy : $40,306,329
18. Chicka Chicka Boom Boom : $35,688,955
19. Fading Nights : $34,402,850
20. Orange Blossom : $30,706,907
21. Love, Death, Revolution : $25,599,887
22. H.H. : $21,940,944
23. On Life and Living : $13,514,798
24. A Tale of Love and Darkness: $9,502,000

Friday, April 4, 2025

Release: Fading Nights

 

Fading Nights
Genre: Crime/Drama
Director: Ryan Coogler
Writer: Jimmy Ellis
Cast: Donald Glover, Idris Elba, Daveed Diggs, Hannah John-Kamen, Joe Cole, Rupert Friend, Willem Dafoe






Budget: $40,000,000
Domestic Box Office: $22,309,555
Foreign Box Office: $12,093,295
Total Profit: -$33,919,049

Reaction: Outside of Red Lantern Corps, this has not been a very forgiving season at the box office for Jimmy Ellis. This was his last film of Season 32, but hopefully he'll have better luck at the box office with his three films in Season 33.





"Fading Nights is a sleek, emotionally charged crime drama that leans into moody visuals and genre tropes with confidence, but it’s also proof that Donald Glover, despite his immense creative talents, lacks the gravitas to be a leading man. His performance feels too internalized, too subdued, rarely rising to meet the emotional stakes of the script. Idris Elba and Willem Dafoe, by contrast, steal every scene they’re in. While Ryan Coogler’s direction is stylish and the soundtrack pulses with atmosphere, the film’s impact is dulled by a lead who just can’t carry it." - Jeremy Raren, RottenTomatoes.com


"Donald Glover delivers a stellar performance mostly due to the amazing artistic direction. Ryan Coogler may have made his most personal film yet. Too bad though, the film doesn't avoid any "been-theres-done-thats" and is limited by if not stunted character development to make it stand out a little bit more." - Jonah Wells, Indiewire




"Fading Nights attempts to craft a gritty, character-driven crime drama, but struggles with overused tropes and thin character development, leaving it feeling like a missed opportunity. The story follows Malcolm King, an ex-con trying to stay out of trouble, only to be pulled back into the dangerous schemes of his family, leading to an inevitable tragic end. Despite a promising cast and Ryan Coogler's direction, the characters lack the depth needed to make their struggles compelling, and the plot relies on predictable twists rather than fresh storytelling. While the film has intense moments, they’re undermined by the lack of emotional nuance, leaving Fading Nights as a formulaic, if stylish, crime story." - Ted Milo, Montasefilm









Rated R for language, strong violence, drug use, and sexual content.






Last Resort Films Jukebox: Fading Nights

 




Thursday, April 3, 2025

Now Showing: Fading Nights

 

Fading Nights
Genre: Crime/Drama
Director: Ryan Coogler
Writer: Jimmy Ellis
Cast: Donald Glover, Idris Elba, Daveed Diggs, Hannah John-Kamen, Joe Cole, Rupert Friend, Willem Dafoe

Plot: Malcolm King (Donald Glover) stands at the gates of prison. He walks out disappointed that nobody is there to pick him up. Ever since he was locked up, his girlfriend Paris and the rest of his family lost contact. He breathes heavily and walks.

With the hood now over his head he arrives in a nice, small neighbourhood. He approaches the door and while looking down knocks. The door is answered by a young beautiful woman, Paris (Hannah John Kamen). Malcolm lifts his head and Paris is disgusted. She tells him she wants nothing to do with him, she broke his heart, he said he wouldn’t associate with his brother and uncle anymore. He pleads with her apologising. He wants to make things right; he promises he won’t get back with them. He loves her and can’t think of life without her. She looks in his eyes, the love evident. However, with that love is also pain, tears rush down her face as Malcolm comforts her, saying it will be different this time.

Boots King (Idris Elba) sits in a luxury apartment, drinking whiskey. Sitting opposite him is a young man. Boots stares daggers at the young man and tells him calmly that if this debt is not settled he will have to do more next time. The young man sobs as he places his hand on the table. Boots stands from his seat and grabs something from the nearby drawer. Boots swings back and hits the young man’s hand with a hammer, screams fill the air. Boots whispers to the young man to not cross him again.

Jay “Wiz” King (Daveed Diggs) sits in a run-down basement. Next to him is a line of cocaine with a joint sitting nearby also. He snorts the cocaine before taking a hit of the joint, he sits back as he watches the television.

6 Months Later: Paris and Malcolm sit at a table as they talk about their financial situation. Paris tells Malcolm he needs to find a job, he assures her he is trying but nowhere will hire a former prisoner, he has tried. Malcolm stands and shoves all the paperwork to the ground before sitting again. Paris walks behind him and places hands on his shoulders, telling him things will work out eventually, they just need to wait a little longer. Paris kisses him and says she is going to have a shower. He kisses her again and sits back on the lounge.

While Paris is in the shower Malcolm gets a phone call. He answers and on the other side is his uncle Boots. Before Boots can say anything, Malcolm says he isn’t doing anymore jobs for him, the last one he did got him locked up, Malcolm hangs up.

Boots stares into the distance shocked, then slams his desk in anger. He calms himself then picks up the phone again, ringing Malcolm. He calmly tells Malcolm to listen closely, and asks if he has forgotten the little debt he owes him. Malcolm sparks up, what does he mean debt, he just spent 2 years in prison for Boots. Boots simply says a debts a debt, and this job could earn him a million dollars, and it should be like stealing candy from a baby. Malcolm looks around making sure Paris is still in the shower. Swearing, Malcolm says he will do it as long as Wiz doesn’t get involved. Boots says he would never think of having him involved, he tells him to be at his apartment by 8pm, he hangs up. Malcolm sits on the lounge, swearing. Paris comes out of the shower, sensing somethings different she asks him what’s wrong. He tells her he has some news, he has a job opportunity tonight, he just has to have a meeting first. She kisses him, saying that this might be what they need to turn their life around.

Malcolm walks the streets until he arrives at the apartment complex. He buzzes into Boots’ apartment and walks the stairs.

As he enters he is angry at the sight of his brother Wiz, high as a kite. Malcolm looks at Boots and berates him, asking why he would bring Wiz in after what happened last time. Boots looks at him and simply says they need him, and to be quite honest Wiz needs the money too. Malcolm tells him he probably just wants to buy some more drugs. Wiz sitting there just stares at Malcolm. Malcolm tells Boots to just get on with the job.

Boots explains the job to them, it’s a simple one, a wealthy socialite and artist, Francis St John is coming to town to unveil his latest painting “Fading Nights”. Boots explains that he already has a deal set up for the painting that will earn them each a million dollars each and lord knows they need it. Boots says the job will go down in tomorrow night, they will meet at the gym and go from there. Malcolm makes it clear this is the last job, he is only doing it because of the debt. Boots nods and shakes his hand. As Malcolm goes to leave, Wiz tries to hug his brother, Malcolm tells him to fuck off before storming out the door.

Malcolm arrives home, Paris asks how the interview went and he says he got the job, he starts tomorrow. The two kiss and have sex to celebrate.

Detective Pierce Keen (Joe Cole) receives a phone call, the caller says he knows of a backstreet deal going down in tomorrow night. Pierce perks up. He writes down the name that the caller tells him, the camera shows the name to be “Paris”.

The next morning Malcolm leaves for ‘work’ as Paris wishes him luck. He smiles and kisses her but as soon as he turns around, the smile turns to a look of determination and anger.

Malcolm arrives at the gym to an already waiting Boots, he says this will make him a rich man, Malcolm doesn’t say a word, as they wait for Wiz.

Wiz walks the streets in a happy mood, he is suddenly jumped from behind and dragged up an alleyway. Nolan Waters (Rupert Friend) kicks him multiple times. He spits on him, saying that he said he’d find him. He demands his money, saying that his little drug escapades are coming to an end. Nolan grabs a knife from his pocket, he grabs Wiz’s hand a begins cutting a finger, Wiz jerks so he punches him in the face. As Nolan is cutting one of his fingers off, Wiz tells him about the painting and how much it’s worth on the street. Nolan is intrigued and finishes cutting the finger off. He demands to know where it is and Wiz tells him, screaming, that it’s at the gala. Nolan throws the finger at him before beating him to a bloody pulp.

Detective Pierce pulls up at the house of Paris. He knocks on the door and enters. He begins to question Paris, asking where Malcolm is. She tells him of how he starts work today. He doesn’t believe her. He tells her he knows about the deal going down. She says she has no clue what he is talking about, Malcolm has not had dealings with his uncle or brother since going to prison. Pierce asks where Malcolm is working, to which she says he is working near the Met Gala tonight. He thanks her for her time before leaving.

Paris decides to call Malcolm to make sure he isn’t doing anything with his uncle and brother. He lies to her saying he is just at work and doesn’t know what the detective wanted. After he hangs up he lets Boots know that the police know of the deal. Boots tells him to stay calm, the job is still going ahead, if Wiz could hurry the fuck up.

Francis St John (Willem Dafoe) arrives at the Met Gala with the famous “Fading Nights” painting. He unveils the painting and delivers a short sharp speech about the painting, along with thanking those in attendance.

Wiz crawls along the ground to his phone, he calls Boots and with great difficulty tells him what’s happened. Boots freaks out and says they will be there soon, Wiz just tells him to take care of Malcolm and get the job done. Wiz hangs up.

Boots looks to Malcolm and tells him Wiz is a no show, they need to start the job, somebody else is going after the painting. Boots throws him a gun, Malcolm doesn’t want it but Boots tells him not to worry it’s not loaded. They put masks on and head to the Gala.

Detective Pierce drives to the Met Gala, assuring himself that he will get these guys.

Nolan Waters walks the streets smiling as he approaches the Gala doors. He enters and makes a b-line straight for the painting. He stares at it for a moment asking himself who would pay that much for this.

St John is talking with a few females when he notices Waters eyeing off the painting, he excuses himself and walks over, standing next to him. “Beautiful isn’t it he asks.” Nolan says he doesn’t care much for art but this piece is amazing. He commends the artists, who St John reveals himself to be.

St John grabs the painting off the wall, to show Nolan the true detail in the painting. Nolan smiles and looks at St John. He pulls out a gun (with a silencer) and shoots him where he stands, he thanks St John as he falls to the ground. With the painting in hand he begins walking away.

At this time Detective Pierce enters, he sees St John on the ground, and tells someone to call 911, he runs after Nolan, who has started his escape. Pierce is then obstructed by a group of people running to help St John. Nolan is seen at the back door of the building, as he is about to exit, the door is knocked down by Boots and Malcolm. Boots sees Nolan and quickly shoots, at the same time Nolan does. Nolan is shot in the throat whereas Boots is shot in the leg. Writhing in pain Boots tells Malcolm to grab the painting, the two start to make a run for it with Malcolm helping Boots stay up. Malcolm argues with his uncle about the guns being loaded. Boots just tells him they would be dead if his wasn’t loaded.

Pierce runs toward the back and sees Nolan laying dead. He looks at the open back door and runs outside. He spots Malcolm and Boots in the distance. He calls out to the two of them to stop. Boots looks to his nephew and tells him to take the painting and leave, lay low for a few days, then sell it. Malcolm doesn’t want to leave his uncle, but Boots forces him to. As Malcolm leaves, Boots turns to Pierce, at first he raises his hands, but he turns out to aim his gun at Pierce. Pierce has no other option than to shoot him dead.

As Malcolm is in the distance he hears the gunshots. Tears stream from his eyes as he enters the car.

As he drives off, he bashes the steering wheel while swearing. Suddenly blue and red lights can be seen close by, with sirens blaring. Malcolm looks to a photo of Paris and says that he is sorry. He grabs the gun next to him and puts it next to his head, he pulls the trigger.

SCREEN FADES TO BLACK


HISTORY LESSON (SEASON 3)

 

Welcome to History Lesson, where we take a closer look at the movies that dare to tackle real-life events with varying levels of accuracy, drama, and WTF casting choices. These films promise to educate and entertain, but more often than not, they rewrite history with the subtlety of a sledgehammer. We’ll be your guide through the land of miscast biopics, dramatic embellishments, and historical “inspired-by” liberties, breaking down whether these flicks are Golden Reel Award-worthy masterpieces or just a big-budget Wikipedia summary. Either way, it’s more fun than your high school history class—and there’s popcorn.

This time around we will take a look at Season 3's fact-based slate....




HISTORY LESSON: American Playboy

American Playboy is essentially The Social Network for horny history buffs. Andrew Garfield dons Hugh Hefner’s silk robe to bring us the inspiring tale of a guy who quit his job, haggled for a topless Marilyn Monroe photo, and built a smut empire right in his kitchen — because who needs HR when you have a folding table and a dream? The movie dives into Hef’s rise from frustrated copywriter to pipe-wielding Playboy icon, complete with awkward dinner parties that devolve into even more awkward wife-swapping proposals. Throw in Jesse Plemons as his mild-mannered sidekick and Adam Scott as the guy who doodled a bunny logo, and you’ve got a drama so slick it could sell you a subscription before the credits roll.

Historically, American Playboy gets the basics right — Hef launched a cultural revolution, got arrested for "obscenity" (spoiler: the jury couldn’t care less), and somehow convinced America that interviews with Malcolm X belonged next to nude centerfolds. But don’t expect the film to linger on the darker side of Hef’s legacy, like the exploitation or his strained relationships. Instead, it focuses on his transformation into a pajama-wearing symbol of cool, complete with pool parties full of topless women who seem suspiciously thrilled to be there. It’s glossy, fast-paced, and just self-aware enough to know it’s glorifying a guy whose empire was





HISTORY LESSON: Femme Fatale

Femme Fatale is a moody, stylish spiral into the rise and tragic fall of Edie Sedgwick (Suki Waterhouse), who went from "It Girl" of Andy Warhol’s Factory to a cautionary tale of fame’s dark side. The film paints Warhol (Jared Leto, appropriately detached) as an emotionally manipulative puppeteer, while Shia LaBeouf’s Bob Dylan breezes in as a folksy knight in flannel armor — at least until he ghosts Edie like a bad Tinder date. Sedgwick’s fast-paced life of parties, magazine covers, and avant-garde cinema quickly deteriorates into a haze of barbiturates, failed relationships, and poor career choices, culminating in an ending that’s as bleak as it is inevitable. It’s gorgeously shot, but it’s the cinematic equivalent of watching a butterfly try to breakdance in a hurricane.

The film’s historical accuracy is.... subjective. Warhol’s chilly dynamic with Edie feels on point, but Dylan’s depiction — marrying the girl-next-door while stringing Edie along — has reportedly never sat well with the real-life bard. Sedgwick’s tragic overdose and her flirtation with fame’s most toxic players are true enough, though her artistic legacy feels a bit sidelined for melodrama. And then there’s Jared Leto, whose Warhol seems more "bored alien observing humans" than iconic artist. Still, the movie captures the dizzying highs and crushing lows of 1960s counterculture, though it sometimes sacrifices nuance for aesthetic angst.





HISTORY LESSON: Blood Countess

Blood Countess reimagines the life of Elizabeth Bathory (Jessica Chastain) with a gothic flair that makes Crimson Peak look like a cheery rom-com. The film leans heavily into the legend of Bathory as a vampiric aristocrat bathing in the blood of young women to preserve her beauty. Chastain chews the scenery as the unhinged countess, while Mads Mikkelsen’s Gyorgy Thurzo oozes venom and duplicitous charm as her jilted suitor. Mia Wasikowska shines as a creepy-yet-sympathetic witch Lucia, and Sean Bean, naturally, is King Mathias, who is here to point fingers and send in the cavalry. With eerie visuals and enough blood to fill an Olympic-size swimming pool, the movie is a sumptuous horror feast — if you don’t mind your history dripping with camp and gore.

Speaking of history, the film dives into Bathory’s infamous reputation but plays fast and loose with the facts. There’s no definitive proof that the real Elizabeth bathed in blood (sorry, goths), and many historians argue that her trial was more about politics and greed than murder. Thurzo’s sudden romantic confession as Elizabeth burns alive feels like a last-minute Game of Thrones-inspired rewrite, while the supernatural elements — hallucinogenic mushrooms, witches, and blood rituals — are pure fiction. Still, Blood Countess commits to its over-the-top narrative, giving us a campy, feminist-lite take on a woman whose legacy straddles the line between myth and medieval smear campaign.

Wednesday, April 2, 2025

Release: Patient Zero

 

Patient Zero
Genre: Horror/Thriller
Director: S. Craig Zahler
Writer: Matt Parker
Cast: Cristin Milioti, Brandon Sklenar, Andrew Koji, Nicola Coughlan, Isaiah Washington, Gabriella Sengos






Budget: $33,000,000
Domestic Box Office: $23,095,599
Foreign Box Office: $55,190,239
Total Profit: $13,567,402

Reaction: Despite poor domestic box office turnout, the foreign numbers were strong enough to turn this zombie thriller into a success.




"Patient Zero is a gritty outbreak thriller that finds tension not just in its infected, but in the moral choices its characters must make. S. Craig Zahler directs with his usual intensity, grounding the apocalyptic chaos. Cristin Milioti is the anchor here, delivering a layered performance. While the pacing can meander and some character beats — particularly between Milioti and Brandon Sklenar’s hardened soldier — feel familiar, the film’s emotional core and gruesome set-pieces keep it from slipping into genre fatigue. With strong supporting turns from Nicola Coughlan and Andrew Koji, Patient Zero isn’t a game-changer, but it’s a smart, sobering take on viral horror." - Lenora Chase, The Daily Prophet


“While not a very original film at all, I did enjoy Patient Zero. Brandon Skelnar and Cristin Milioti play off each other fairly well. The brutal direction from Zahler does add a little bit to the film. If you are a fan of zombie/infected films that this is one that you will enjoy. Fairly by the numbers but due to the speed of the film, it is not a chore to get through.” - J. Darell Ellington, Behind the Camera




"While not the worst zombie movie to exist, it certainly doesn't bring it back from the dead as not even it's talented cast (especially the most underrated, Cristin Milioti) don't hide how over dead tropes keep it from coming alive once more." - Jason Helm, New York Observer











Rated R for horror violence and some language






Top 10 Zombie Films

 


Sherman J. Pearson here for another Top 10. Zombie films have never been the most popular horror sub-genre in LRF, but Patient Zero - in theaters now - is hoping to change that. I haven't seen Patient Zero yet, but its release did inspire me to take a look at the studio's history of zombie-related films.

Top 10 Zombie Films
10. Resident Evil 3
9. Resident Evil 4
8. The World: Done to Death
7. Resident Evil 5
6. Zombielove
5. The Day
4. The Nest
3. The Last of Us
2. Wolfenstein
1. The Deadliest Night in Show Business