Movies
[Books] “Godzilla: The Art of Destruction” Cover Offers New Look at Monster!
The official cover for the definitive book on the forthcoming Godzilla film, “Godzilla: The Art of Destruction” by Mark Cotta Vaz, due out May 13th, offer your latest look at the ginormous monster!
Insight Editions, Legendary Pictures, Toho Co., Ltd., and Warner Bros. Consumer Products’ collaboration will take audiences behind the scenes of Warner Bros. Pictures’ and Legendary Pictures’ Godzilla, the epic rebirth of one of the world’s most revered monster, set to release in May 2014.
Leading up to the release of the film starring Aaron Taylor-Johnson (Kick-Ass), Bryan Cranston (Breaking Bad), Elizabeth Olsen (Silent House), David Strathairn (Lincoln), Ken Watanabe (Inception), Sally Hawkins (Blue Jasmine) and Juliette Binoche (The English Patient), Insight Editions will partner with the three major film companies to bring readers “Godzilla: The Art of Destruction: by Mark Cotta Vaz. The book is a visually stunning volume that delves into the making of the new Godzilla film, showcases its incredible production art, and includes interviews with its director, key crew members, and cast. Insight Editions, known for their innovative, cutting-edge books “Man of Steel: Inside the Legendary World” of “Superman” and “Pacific Rim: Man, Machines & Monsters,” will once again bring their expertise to this definitive book on one of the most anticipated films of 2014.
Godzilla, one of the most recognizable characters in history who has become an icon of Japanese cinema since his debut in 1954, will once again take center stage in the new film by acclaimed filmmaker Gareth Edwards (Monsters). Edwards directs from a screenplay by Max Borenstein and story by David Callaham and Max Borenstein, based on the character “Godzilla,” owned and created by TOHO CO., LTD. Thomas Tull and Jon Jashni are producing with Mary Parent and Brian Rogers. Patricia Whitcher and Alex Garcia are serving as executive producers, alongside Yoshimitsu Banno and Kenji Okuhira.
Movies
‘Abigail’ on Track for a Better Opening Weekend Than Universal’s Previous Two Vampire Attempts
In the wake of Leigh Whannell’s Invisible Man back in 2020, Universal has been struggling to achieve further box office success with their Universal Monsters brand. Even in the early days of the pandemic, Invisible Man scared up $144 million at the worldwide box office, while last year’s Universal Monsters: Dracula movies The Last Voyage of the Demeter and Renfield didn’t even approach that number when you COMBINE their individual box office hauls.
The horror-comedy Renfield came along first in April 2023, ending its run with just $26 million. The period piece Last Voyage of the Demeter ended its own run with a mere $21 million.
But Universal is trying again with their ballerina vampire movie Abigail this weekend, the latest bloodbath directed by the filmmakers known as Radio Silence (Ready or Not, Scream).
Unlike Demeter and Renfield, the early reviews for Abigail are incredibly strong, with our own Meagan Navarro calling the film “savagely inventive in terms of its vampiric gore,” ultimately “offering a thrill ride with sharp, pointy teeth.” Read her full review here.
That early buzz – coupled with some excellent trailers – should drive Abigail to moderate box office success, the film already scaring up $1 million in Thursday previews last night. Variety notes that Abigail is currently on track to enjoy a $12 million – $15 million opening weekend, which would smash Renfield ($8 million) and Demeter’s ($6 million) opening weekends.
Working to Abigail‘s advantage is the film’s reported $28 million production budget, making it a more affordable box office bet for Universal than the two aforementioned movies.
Stay tuned for more box office reporting in the coming days.
In Abigail, “After a group of would-be criminals kidnap the 12-year-old ballerina daughter of a powerful underworld figure, all they have to do to collect a $50 million ransom is watch the girl overnight. In an isolated mansion, the captors start to dwindle, one by one, and they discover, to their mounting horror, that they’re locked inside with no normal little girl.”
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