These movies are due out on DVD February 13, 2007. Just click on the links below to purchase the movie posters:

• The Departed
• Infamous
• Marie Antoinette
• School for Scoundrels

Share on Facebook

Saw III arrived in theaters, just in time for Halloween, trapping audiences in their seats to the tune of $34.0 million. This is the largest opening for a Saw movie to date, and Lionsgate’s highest grossing weekend in history.

The Prestige, last weekend’s box office winner, slipped to third place with $9.6 million, while The Departed reclaims second place bringing in $9.8 million.

Clint Eastwood’s Flags of Our Father’s comes in fourth place with an estimated $6.4 million and rounding out the top five Open Season brings in $6.1 million. Placing sixth is Flicka with $5.0 million, while Man of the Year remains in seventh place with $4.7 million. The Grudge 2 comes in eigth scaring up $3.3 million.

Marie Antoinette is playing in only 859 theaters and it places ninth with $2.9 million. This is a 47% drop from it’s debut last week.

Sony’s Running With Scissors rounds out the top ten bringing in $2.9 million.

Just click on the links below to purchase the posters for the above-mentioned movies:

• Saw III – $34.3 Million
• The Departed – $9.8 Million
• The Prestige – $9.6 Million
• Flags of Our Fathers - $6.4 Million
• Open Season – $6.1 Million
• Flicka – $4.97 Million
• Man of the Year - $4.71 Million
• The Grudge 2 – $3.30 Million
• Marie Antoinette - $2.85 Million
• Running with Scissors – $2.55 Million

Share on Facebook

Christian Bale and Hugh Jackman in The Prestige

Director Christopher Nolan’s, The Prestige worked it’s magic on the
movie-going audience last weekend to top the North American Box with $14.8
million. Surprisingly enough, The Prestige managed to hold off Clint
Eastwood’s, WWII drama, Flags of our Fathers, which debuted in third
place with $10.8 million. Martin Scorsese scores his biggest hit in recent years
with the The Departed, which is holding strong at second place with $13.6
million for a grand total of $77.0 million to date.

Sony’s animated feature, Open Season places fourth with $8.0 million,
and Flicka, Fox’s family drama, debuts in fifth place bringing in $7.7
million. Tied for fifth place, with Flicka was last week’s box office
winner, The Grudge 2 with $7.7 million.

Falling to seventh place is Universal’s political comedy Man of the Year
with $7 million. Director Sofia Coppola’s, Marie Antoinette opened in
limited release and places eight with $5.3 million.

Rounding out the Top 10 was Texas Chainsaw Massacre: The Beginning,
which placed ninth with $3.9 million, and The Marine fell to10th place
with $3.7 million.

Sony’s Running With Scissors opened in limited
release, in only 8 theaters for a strong debut of $225,000, while the 3-D
version of Tim Burton’s, The Nightmare Before Christmas made $3.3 million
in limited release.

To purchase the posters for the above-mentioned movies, just click on the links below:

• The Prestige – $14,818,000
• The Departed – $13,675,000
• Flags of Our Fathers – $10,200,000
• Open Season – $8,000,000
• Flicka – $7,700,000
• The Grudge 2 – $7,700,000
• Man of the Year – $7,035,000
• Marie Antoinette - $5,300,000
• Texas Chainsaw Massacre: The Beginning – $3,875,000
• The Marine – $3,725,000

Share on Facebook

Kirtsten Dunst in Marie Antoinette

Sophia Coppola’s Marie Antoinette is simply brilliant. Read on:

Marie Antoinette is a film that some people will enjoy and others will not. But virtually none of them will have any idea how to explain or qualify why. Part of this is due to its strange clash of classic and modern ideas; director Sofia Coppola transforms what would otherwise be described as a costume drama into a subtle dissertation on the vagaries of our too-much-too-soon culture. But at the same time, Coppola’s general approach to moviemaking seems to produce this kind of confusion, or maybe just the stimulating sense that things aren’t quite so easily categorized.

With Marie Antoinette, Coppola proves that she is still one of the most talented, adventurous and exciting filmmakers of the modern era. Like an exhilarating union between Terrence Malick and Baz Luhrmann, she combines the immediacy of contemporary cinema with the studied professionalism and patience of previous decades, creating a masterpiece that is both faithful to its time period and vividly rendered in dimensions that modern audiences will relate to.

Rather than examining the French queen’s life in a strictly historical context, Coppola looks at the trajectory of her experiences in much the same way she did Charlotte’s in Lost In Translation — namely, by exploring the motivations and emotional underpinnings that produce Marie Antoinette’s behavior. Kirsten Dunst (Elizabethtown) portrays her as exactly what she was — a young girl caught up in events she could no better understand than control or change — and gives the film a heroine whose problems feel identifiable. While so many period movies dryly chronicle the broad strokes of so-called “universal” issues, Dunst and Coppola’s collaboration blows the dust off of the entire “period piece” ethos, and turns the historical figure’s travails into something sharp and evocative.

For film fans, Kubrick’s Barry Lyndon and Luchino Visconti’s The Leopard will immediately come to mind as visual and overall aesthetic references, but the film shares much more in common with the works of the aforementioned Malick, whose most recent work The New World similarly purported to document a bygone era via atmosphere and emotion rather than historical accuracy. Marie Antoinette is an impressionist’s view of what life must have been like for the teen queen: conjuring the texture of her world and the minutiae of her absurdly regimented daily life, Coppola finds the human truth in Marie Antoinette’s boredom, her loneliness, and eventually, her decadent self-destruction.

Click on the link below to read the entire article:

Read more…

Marie Antoinette movie posters

View the trailer

Share on Facebook

Marie Antoinette director, Sophia Coppola will use a wide variety of popular rock music to bring her feature to life. Read on:

For her third feature length film, Marie Antoinette, director Sophia Coppola once again continues to utilize the vast expanse of popular music to accentuate her vivid visual imagination.

Joining her on her quest for the perfect marriage between sight and sound was Music Producer and Music Supervisor Brian Reitzell, who also worked with Coppola on her two previous films, Lost In Translation and The Virgin Suicides.

While writing the script for the film Coppola turned to Reitzell and the two discussed in depth both the tone of the film and the music she was looking for. The result was that Reitzell went for a combination of vintage New Wave (Bow Wow Wow, Adam Ant), Opera, and contemporary music.

“We decided early on that our approach would be a collage of different kinds of music,” says Reitzell. “The soundtrack is a double disc, a post-punk-pre-new-romantic-rock-opera odyssey with some 18th century music and some very new contemporary music.”

The accompanying album is broken into a 2-Disc set featuring classics from the likes of Gang of Four and New Order on one disc and lush score elements on the other disc.

Click on the link below to read the entire article:

Read more…

Marie Antoinette Movie Posters

Share on Facebook

We’ve just added to our catalogue, Medicom Toy “Talking Life-Size Saw Puppet” and Clone Trooper Model kit, and several new movie posters for upcoming movies. Click on the links below for details:

• Talking Life-Size Saw Propsize Puppet
• Clone Trooper 12-Inch Figure – Medicom Toy
• Saw 3 Movie Posters
• Babel Movie Posters
• Marie Antoinette Movie Posters

Share on Facebook