Re: Money Monster to be shown at Cannes Film Festival 2016 - Variety

by annemarie Wed 11 May 2016, 23:34

Yes she gets sent things why shouldn't she, George said himself designers will send her something to wear every

now and then. He also said she pays for her clothing. It is a perk of being married to George , I think any woman who

loves clothes would jump at the chance to wear designer things before they are released. She is not hurting anyone

just enjoying fashion trying different designers.

by party animal - not! Wed 11 May 2016, 23:46

A few broader observations.

Lunch today:

Sometimes I think we have to be really careful how we interpret pap pix of two minutes in time taken by some guy hanging off a boat with a zoom lens looking at the exclusive outdoor restaurant on the rocks of a six star hotel in the south of France.

The other thing I always forget about these junkets is that George and Grant are also there to do business so there must be many meetings along those lines too ....and it might be helpful to have a wife with fluent French..........

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Think they might all be out on the town tonight too........

by Donnamarie Thu 12 May 2016, 00:01

"Amal wearing clothes that cause hostility and nastiness". I don't even understand what that means.

"I don't like her ...." That I understand.

I can't even argue with your comments WWHS. Needless to say everyone here is entitled to their opinions.

by annemarie Thu 12 May 2016, 00:10

They look like they are enjoying themselves at lunch love the red on Amal . George is quite animated and happy.

Pan your right this is no vacation for George this is work.

by Donnamarie Thu 12 May 2016, 00:28

Yes Annemarie Amal and George looked like they were really enjoying themselves at lunch. If anyone wants to check them out carolhathaway posted pics of George and Amal at lunch today on another thread.

Beautiful pic of Lysa Heslov. Gorgeous dress. Thanks for the Instagram post PAN.

by amaretti Thu 12 May 2016, 01:29

Well I am fluent in Netflix and late night TV . Very Happy

by Donnamarie Thu 12 May 2016, 01:58

amaretti wrote:Well I am fluent in Netflix and late night TV .

by Jenn Thu 12 May 2016, 02:06

Donnamarie wrote:"Amal wearing clothes that cause hostility and nastiness". I don't even understand what that means.

"I don't like her ...." That I understand.

I can't even argue with your comments WWHS. Needless to say everyone here is entitled to their opinions.

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Thumbs up!

by melbert Thu 12 May 2016, 02:50

What Would He Say wrote:
annemarie wrote:How about they may have left a chilly climate and she was dressed for that and didn't see the need to change. She is wearing a sweater and a skirt I see nothing wrong

with what she is wearing. She has her own style nothing wrong with that , people should wear what they like and makes them feel comfortable

Annemarie, I beg to differ....there is everything wrong.....It's NOT available as yet.....I don't want to endlessly repeat myself (see above) .....She is being used or is the ab-user take your pick? but it's not pretty.....and seems to happen to many of George's previous ladies...

Amal, the new wife was supposed to be different....from what I see - sadly not so.....

"chilly" is not a solution...the same happened in NYC...Spring/Summer collection worn in mid (very cold) winter...Sorry....

WWHS, don't forget that this is the Amal Fan Club site... Twisted Evil

So, everything anyone says in a derogatory tone about Amal gets slammed.

by Fingersandtoes Thu 12 May 2016, 06:55

I personally don't see anything wrong with the clothes Amal is wearing. Am I missing something here? And she's actually on her free time there, not working, so she should be able to dress as she pleases. This was not even George's film premiere, so I don't think there should be any kind of dress codes for her or him. Jmo of course.

by What Would He Say Thu 12 May 2016, 12:34

It’s not strange for you to feel like this, and even hard for you to believe that my feelings, and the urge to write about them, comes from a place of compassion….

IF? Amal is being used by media/designers/et al then I can’t say nothing…. Nobody knows more than I do that peoples taste are wide and wacko….BUT I see more than that. I see a woman who looks frail, wearing clothes too heavy and out of season being annihilated on comments section of DM…..I clicked the link provided by and immediately regretted it…..and in case you don’t know I am no different to the 90% of online readers that I learned recently only look at the pictures and go straight to comments, hands up I am guilty of this too…

I hope whoever took the decision that it was a good idea to get the ball rolling for this collection by putting Amal Clooney in it, also read what was being said about her….It was not a good idea, she got the column inches (that 10% read) for all the wrong reasons, the real inches are in ‘comments not compliments”…..clothing should not be the reason somebody, anybody looses esteem ….I don’t think it will affect her reputation at work, the legal world is self healing….BUT it leaves a taste in the mouth, if she is an innocent victim of this, then shame on the powers that moved to produce this, no incentive or sweetener was worth it…..Amal, if used, became the “trailer” for the big event….Not the feature film, not the big event, that comes later in the shape of Gigi or Kendall…..

IF? Amal was totally up for it….It shows at best poor judgement….and at worst greed….JMO

Donnamarie...I was referring to comments again Amal....

Fingerandtoes....IF? the clothes are a free gift/an endorsement, then IS she working....In the words of a Julia Roberts movie "Work it baby, work it". Free time???....When I first came to COH in the days of Stacy, she was regularly slammed for "endorsements/gifts" ....I don't see Amal being that different....Other than she appears so frail Sad

by Fingersandtoes Thu 12 May 2016, 13:03

WWHS, Daily Mail comment section is a known cesspool of filth. There are only a few people getting any kind of praise from there.

Amal seems to have had a bit 'weird' sense of style, quirky, even. Her outfit fits perfectly to that style she's been wearing for a while. IMO the press has put her on some fashion pedestal IMO which she didn't really want or deserve. She is enjoying the perks that come with it (freebies/loaned clothes), but IMO she's at this event simply to enjoy her time with George and support him. I highly doubt she's being used by anyone. I do think these benefits she gets from designers do make her life a lot easier though, especially if the clothes are being delivered to her. She gets somewhat fashionable clothes with easy access and the designers get to mention her wearing their clothes. It seems like a win/win for all. Jmo of course. Smile

by carolhathaway Thu 12 May 2016, 13:22

Fingersandtoes,
I absolutely agree with you. Amal has been called a fashion queen etc. from the minute George and her started dating, and if you watch older pics of her she's never dressed in a 'classic' way. Some people like it and others don't. I've watched the web blog which is dedicated to her fashion by a Swiss lady, and her style is discussed quite controversial there as well.

I couldn't and also wouldn't want to wear most of her clothes (I'm too small and too heavy for them) but I like to watch pics of her and George. And by the way: Nobody complains about George wearing his old Levis and tequila shirt... although he looks damn hot in a black suit, black shirt or even in his jeans and a black shirt - not to mention him wearing a tux...

But discussions about Amal usually are like that on COH, I'm here for a little more than a year and start getting used to it...

by Way2Old4Dis Thu 12 May 2016, 13:47

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[size=47]Cannes Film Review: ‘Money Monster’[/size]

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Andrew Barker

Senior Features Writer@barkerrant

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COURTESY OF TRISTAR PICTURES

[size]
MAY 12, 2016 | 03:45AM PT
When you break apart the essential elements of “Money Monster,” Jodie Foster’s taut yet sporadically odd hostage drama, few of them seem to completely work. As an indictment of Wall Street chicanery, it’s largely toothless; as a pure thriller, it only quickens the pulse once or twice; as a conspiracy saga, its central mystery falls flat.
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SEE MORE: Cannes Film Festival

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Yet somehow the film hangs together surprisingly well, thanks to on-point performances from George Clooney and Julia Roberts, a sprinkle of obtuse humor and Foster’s streamlined direction, which takes style notes from the likes of “Dog Day Afternoon” and “Inside Man” in the service of a far more lightweight confection. It may not linger long in the memory after credits roll, and what multiplex audiences make of the film is anyone’s guess, but in a landscape short on no-frills grown-up entertainment, it’s worth the modest time investment.
The film stars Clooney as cable news host Lee Gates. A transparent stand-in for Jim Cramer of CNBC’s “Mad Money,” Lee is a shameless self-promoter who deals out stock tips with the help of hip-hop backup dancers, wild costumes and a morning zoo assortment of goofy sound effects. His long-suffering producer Patty Fenn (Roberts) is planning to take a job across town, and as the station staff gets ready for the day’s live taping, Lee prepares for a particularly delicate tap-dancing routine.
Ibis Clear Capital, a company whose stock Lee has been touting for months, somehow just lost $800 million of capital through unclear circumstances, and the company’s Irish corporate communications officer, Diane Lester (Caitriona Balfe) is standing by via satellite with talking points in hand. Any worries she might have of being grilled by Lee on camera are assuaged by Patty, who tells her, “We don’t do ‘gotcha’ journalism here. Hell, we don’t do journalism, period.”
Foster and editor Matt Chesse deftly capture the controlled chaos of live TV in the early going, cutting between the broadcast and the control booth, with Patty feeding Lee lines into his earpiece. (The decision to stage the film in an approximation of real-time pays off handsomely.) One gets so caught up in the ins-and-outs of the production that the presence of a hoodied deliveryman in the wings initially goes unnoticed, at least until he springs onto the set with a pistol in hand, taking the whole soundstage hostage.
The interloper is Kyle Budwell (Jack O’Connell), a minimum wage-earning factotum from Queens, and with great haste he forces Lee into a bomb vest, clutching the dead-man’s switch in his hand. Kyle lost his entire savings due to Lee’s stock advice, and he threatens to scorch the whole studio unless Ibis gives him a satisfactory explanation of the “computer glitch” that sent its stock price tumbling.
The film is at its best in these tense early scenes, as Kyle makes his case, Lee tries to use his mediagenic charm talk him down — generally making things much worse in the process — and Patty runs triage before her TV producer instincts kick in and she starts moving the cameras around for a better shot. The world watches the standoff on the small screen, an NYPD chief (Giancarlo Esposito) strategizes a SWAT raid, and Diane desperately tries to locate her boss, Ibis’ jet-setting CEO (Dominic West).
As the standoff gets more and more involved, an increasing degree of preposterousness seeps into the proceedings, and Foster can’t keep up the pace she sets at the start. The ultimate resolution is a bit of a bust, and the late-game introduction of new plot elements like stoned Icelandic computer hackers feels like something out of a low-budget ’90s thriller. (Exactly how the subplot of a Lee underling test-driving a new erectile-dysfunction drug made it past the final cut is a mystery.) Credited to three screenwriters, the plot hurtles forward efficiently, but the film’s underlying metaphors are ultimately muddled, pulled in too many directions at once.
Unlike last year’s “The Big Short,” “Money Monster’s” skewering of the financial industry is too superficial to draw any real blood, but it arrives at an unusually relevant historical juncture. With two very different populist voter uprisings lifting the presidential candidacies of Bernie Sanders and Donald Trump, one could see Lee as an appropriately fatuous proxy for the out-of-touch punditocracy that failed to predict them, too wrapped up in the inside-baseball shadow plays of finance and politics to realize how profoundly policies and market dips affect real people.
But Clooney’s performance lifts the character above a mere straw man. Lee is obviously a clown, a thrice-divorced shuck-and-jive infotainer who seems as surprised as anyone to learn his advice was ever taken seriously. (He’s introduced while texting on the toilet, and Foster gives a nod to his casual sexism when he guilelessly refers to a CCO as “the PR girl.”) But in Clooney’s hands, he’s hardly a villain, and as broad as the performance gets, the actor smartly underplays its overall arc, as this master B.S. artist slowly realizes there are levels of doublespeak and skullduggery that even he can’t abide.
As the end-of-his-rope hijacker, O’Connell lays the blustery outer-borough shtick on a bit thick, while Roberts holds the screen well despite being confined to a control panel for most of the film. (Given how much of her dialogue is delivered via Lee’s earpiece, hers is almost a voice-over role.) Yet the show is almost stolen entirely by Emily Meade as Kyle’s pregnant girlfriend, brought in by police to attempt an intervention that takes a hilarious left turn. And perhaps that’s appropriate: a well-played minor character walking away with a well-crafted, yet ultimately minor movie.

Cannes Film Review: 'Money Monster'

Reviewed at Landmark Theaters, Los Angeles, May 3, 2016. (In Cannes Film Festival.) MPAA rating: R. Running time: 98 MIN.

Production

A TriStar Pictures release and presentation in association with LStar Capital of a Smokehouse/Allegiance Theater production. Produced by Lara Alameddine, George Clooney, Daniel Dubiecki, Grant Heslov. Executive producers, Tim Crane, Kerry Orent, Regina Sculley, Ben Waisbren.

Crew

Directed by Jodie Foster. Screenplay, Jamie Linden, Alan DiFiore, Jim Kouf, from a story by DiFiore and Kouf. Camera (color), Matthew Libatique; editor, Matt Chesse; music, Dominic Lewis; production designer, Kevin Thompson; costume designer, Susan Lyall; art director, Deb Jensen; sound (Dolby Digital), Ed Novick; supervising sound editors, Chris Gridley, Steve Slanec; re-recording mixers, Lora Hirschberg, Brandon Proctor; visual effects, the Molecule; visual effects supervisor, Luke DiTommaso; assistant director, Joseph Reidy; casting, Avy Kaufman.

With

George Clooney, Julia Roberts, Jack O’Connell, Caitriona Balfe, Dominic West, Giancarlo Esposito, Emily Meade, Lenny Venito, Condola Rashad, Christopher Denham, Greta Lee. (English, Korean, Icelandic dialogue.)[/size]

by Donnamarie Thu 12 May 2016, 14:00

The DM comments section is a cesspool of filthy comments. Agree Fingersandtoes. Most sites' comments tend to bring out people who enjoy their anonymity to blast, insult and unfairly criticize. I call them cowards quite frankly. It seems that many of these same people dislike Amal and George. And say disgusting things about both of them. Their comments IMO are totally illegitimate because they mostly come from a place of hate.

Amal is not frail and she was absolutely wearing a season appropriate outfit. People either like it or not.
There is no evidence that she is a victim of the fashion designers. If some don't like her style then fine. But she does. She has shown herself to be strong and independent as a career woman. I seriously doubt that designers are manipulating her. From those who know her and from pictures of her from the past she has had her unique style of dressing for quite some time.
Her husband has said the same about his wife's fashion sense.

by fava Thu 12 May 2016, 14:01

"A minor movie" ? Ouch. Does not sound like something to be remembered at awards time. Looking forward to other reviews.

by party animal - not! Thu 12 May 2016, 14:16

Try this:

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And the headline on the Guardian is very interesting.......

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by it's me Thu 12 May 2016, 14:52

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photocall !!

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by annemarie Thu 12 May 2016, 15:35

Looking good George.

by Donnamarie Thu 12 May 2016, 17:05

Everyone looks like they are having such fun at the photo call.

I liked the comments George made about Trump and the media. His comment that 24/7 news doesn't mean more news but just more of the same news was spot on IMO.

Reviews I've read so far have been ok to good. Not great. I never saw this movie as in contention for awards. But the theme is timely and it sounds pretty entertaining with emphasis on the characters and their interactions more than an action flick.

by Donnamarie Thu 12 May 2016, 17:50

From Rolling Stone

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by Had.e6 Thu 12 May 2016, 17:57

Cannes 2016: Money Monster Review

By Jo-Ann Titmarsh -

May 12, 2016

[size=27]After an acting career spanning almost fifty years, and sporadic forays into directing, Jodie Foster arrives in Cannes with Money Monster and shows that she’s just as adept, intelligent and entertaining behind the camera as she is in front of it.[/size]

In the past, Foster’s directorial tastes have been towards personal and intimate accounts of individuals facing difficult situations, whether bringing up a genius child or coping with the ravages of depression. In this film, she maintains that personal level while taking on the big boys of Wall Street and beyond.
Money Monster is a US show with Lee Gates (George Clooney) as its host and Patty Fenn (Julia Roberts) as his long-suffering producer. We watch the behind-the-scenes preparations for the umpteenth show and quickly get to know the characters soon to be involved in the drama to come. Gates is a maverick host who just won’t stick to the script while Fenn is ready to take on a kids show across the road, figuring seven-year-olds are easier to manage.
Once the team is established and the show is on air, we are introduced to the interloper – Kyle Budwell (Jack O’Connell), a gun-toting desperado who has lost his savings and wants an explanation: just how does $800 million disappear in an instant just because of a glitch? The man has a point, and he also has a jacket packed with explosives for Lee to don.

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We, along with all the viewers watching the siege live on TV around the world, watch this humiliated man suffer further humiliations thanks to a hilarious scene when his girlfriend is called in to help negotiations. In fact, this is one of the film’s great tricks. While maintaining a level of intensity and drama, there is plenty of humour coming from all directions, whether it’s Ron the producer (Christopher Denham) trying out a new erection cream or a murmured confession from Bates.
But Foster is smart enough to know that this can’t end well, and we follow the film to its denouement anticipating an outcome that will not be for laughs.
Foster has accrued a cast alongside the three leads who offer substantial support: along with Christopher Denham, we have Giancarlo Esposito as the cop in charge of ending the siege, Dominic West as the unscrupulous money man Walt Camby, whose financial shenanigans started all this mess, and Caitriona Balfe as Diane Lester. She’s Camby’s employee and lover, yet when she realizes she’s been duped she sees an opportunity to act a lone voice of conscience on Wall Street. However, it’s Lenny Venito as Lenny the cameraman who puts in a stand-out performance as he follows the events unfolding through his unwavering lens.
More than any of Foster’s previous films as a director, Money Monster has more in common with a film she appeared in – Spike Lee’s Inside Man. Again, we are routing for the bad guys who are good, we have a hostage situation and we have a glimpse into the banking world. We see the machinations of money, as well as the corruption and power of those who keep all those financial cogs oiled.
As with so many films that show desperate men taking on corporate giants (such as Denzel Washington in John Q), the audience is immediately drawn to the little guy. And O’Connell is convincing as the all-too-human Budwell.
Together with Roberts and Clooney, who always look so comfortable together, they form a formidable trio. And Jodie Foster has put them all together, along with an excellent screenplay by Jamie Linden, Alan DiFiore and Jim Kouf, to create an exciting indictment of contemporary capitalism.

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by it's me Thu 12 May 2016, 17:58

by amaretti Thu 12 May 2016, 18:02

Fun. Looks really fun . Very Happy

by it's me Thu 12 May 2016, 18:08

by Donnamarie Fri 13 May 2016, 02:03

A really good review from The New York Times

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by carolhathaway Fri 13 May 2016, 06:20

Donna,
the link you posted doesn't work for me.
I found this site:
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by it's me Fri 13 May 2016, 09:55

Nice idea
That connection between George and Julia

Running thru waves
Right into his head

by Donnamarie Fri 13 May 2016, 13:31

carolhathaway wrote:Donna,
the link you posted doesn't work for me.
I found this site:
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Sorry guys. When I posted it last night this link worked. Now doublechecking I find that the link doesn't work this morning and in fact the link changed. Carol obviously has the right one now. My apologies.

by Way2Old4Dis Fri 13 May 2016, 16:34

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Forecast: 'Captain America' Hunts $300M Domestic as 'Money Monster' and 'The Darkness' Hit Theaters
by Brad Brevet

May 12, 2016

Friday AM Update: Money Monster took in $600,000 from 2,387 locations on Thursday night. The studio offered Hail, Caesar! ($545K Thursday night, $11.4 million weekend) and Bridge of Spies ($500K Thursday night, $15.4 weekend) as comparisons, which suggests they may be looking at something a little over $10 million for the weekend.

The weekend's other newcomer, The Darkness, grossed $206,000 in previews last night. The opening is a bit below the $275,000 Thursday night The Green Inferno delivered, but just a shade below the likes of Criminal ($235k) and The Gunman ($220k), which went on to gross $5.7 million and $5 million for their respective opening weekends. The Darkness is still expected to pull in around $4-5 million this weekend.

We'll have more for you tomorrow morning once Friday estimates are revealed, for now you can read our full weekend preview below.

Weekend Preview: After a stellar opening weekend, Captain America: Civil Warenters its sophomore frame with no real direct competition. This weekend's two new wide releases include the adult-targeted financial thriller Money Monster and the micro-budgeted Blumhouse thriller The Darkness. Neither are likely to have much of an effect, if any, on Civil War's second weekend, which has a shot at becoming one of the top five second weekends of all-timeas the film will be creeping close to $300 million domestically by end of day Sunday.

Last weekend, Civil War's opening weekend actuals came in just a bit below estimates, but it was still more than enough for the film to score the fifth largest opening of all-time. Since then it has played in such a way that we're looking at a 55-58% drop this weekend, putting it in the position for a $75-80 million weekend. If it trends toward the lower end of that forecast it will be in a battle with Avatar and The Dark Knight for fifth and sixth position on the chart of highest grossing second weekends. However, if it can top $77.7 million it just might hit the $300 million mark after just ten days, as well as serve as enough to improve on Avengers: Age of Ultron's second weekend last year.

Moving to second we have a repeat of last weekend with Disney dominating the top two spots as The Jungle Book should maintain enough audience interest to best all newcomers. The film dropped just 44% last weekend and could have kept a few folks from seeing Civil War, a theory that could both contribute to a larger second weekend for Civil War. It could also deliver a steeper drop for The Jungle Book than we're forecasting, but don't count on that half of this theory to come true.

All told, The Jungle Book is losing only 174 theaters and a weekend around$14-16 million seems entirely reasonable as it will be pushing over $300 million this weekend.

In third we find the first of the weekend's newcomers. Money Monster is Jodie Foster's first time directing a feature film since 2011's The Beaver and withGeorge Clooney and Julia Roberts in lead roles there's no shortage of name recognition. Adding to the glitz and glam, the film is premiering out of competition at the Cannes Film Festival only hours before it hits 3,104 U.S. theaters.

For the sake of comparison, in 2014 Draft Day released one week afterCaptain America: The Winter Soldier in about 400 fewer theaters and brought in $9.78 million. That same year Million Dollar Arm released up againstGodzilla a few weeks later and opened with $10.5 million from 3,019 theaters.

Reviews for Money Monster have been decent so far with the RottenTomatoesscore floating around 65-70% all day. As for a weekend range, the studio is expecting something around $10 million and that seems about right. Expect anything around $9-11 million for the three day with the outside chance it's able to climb just a bit higher.

Competing for fourth and fifth position are two films that couldn't be separated any further from one another in terms of audience demographics. First there's last weekend's strong holdover, Mother's Day, which saw a 32.5% increase in its second weekend. Of course, much of that was due to the smart release date positioning that saw the film taking advantage of its namesake holiday, but the question is then to wonder whether that's the only reason it performed so well.

A selection of films that saw similar second weekend success dropped, on average, 37.6% in their following weekend. However, the holiday timing and ho-hum opening weekend makes it tough to expect Mother's Day to follow suit. In fact, it could suffer a severe drop and pull in only $3 million, but something closer to a 52-60% drop seems like a smart range, delivering a weekend around $4.5-5.5 million

The other film looking for a spot in the top five is the latest Blumhouse horrorThe Darkness. The micro-budgeted feature stars Kevin Bacon and Radha Mitchell and BH Tilt is taking advantage of a digital-heavy marketing campaign with theaters chosen based on the fact they are historically frequented by die-hard genre fans. The approach is similar to how they targeted the release of Eli Roth's The Green Inferno last year, which brought in $3.5 million from 1,540 theaters. The Darkness will release in 1,755 theaters and the studio seems confident they can deliver a $4-5 million weekend, which lines up well when compared to Green Inferno's performance.

Opening in limited release this weekend Magnolia will bring Ben Wheatley'sHigh-Rise to theaters; A24 will release Yorgos Lanthimos' The Lobster in four theaters; Well Go will release Tony Jaa's Kill Zone 2 into 13 theaters; Roadside will release Whit Stillman's Love & Friendship into four theaters; and Focus World is releasing Search Party into ten theaters.

Additionally, A24 is continuing to expand the release of Green Room, this time into 777 theaters, and The Weinstein Co. is bringing Sing Street to 372 more theaters, bringing the total to 525.

This weekend's forecast is directly below. This post will be updated on Friday morning with Thursday night preview results followed by Friday estimates on Saturday morning, and a complete weekend recap on Sunday morning.

Captain America: Civil War (4,226 theaters) - $77.03 M
The Jungle Book (3,970 theaters) - $15.18 M
Money Monster (3,104 theaters) - $10.31 M
Mother's Day (3,291 theaters) - $4.88 M
The Darkness (1,755 theaters) - $4.3 M
Zootopia (1,935 theaters) - $2.22 M
The Huntsman: Winter's War (2,511 theaters) - $1.94 M
Keanu (2,120 theaters) - $1.68 M
Barbershop: The Next Cut (1,333 theaters) - $1.49 M
The Boss (1,344 theaters) - $.99 M

Discuss this story with fellow Box Office Mojo fans on Facebook. On Twitter, follow us at @boxofficemojo and author Brad Brevet at @bradbrevet.

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by Way2Old4Dis Fri 13 May 2016, 16:36

Ugh. Sorry for the mutilated copy. I'm on my tablet in a waiting room, and it's the best I can do.

by party animal - not! Fri 13 May 2016, 16:45

Looks fine to me, Way2.

Not exactly a level playing field is it with the disparity in the number of screening cinemas?

Here is People's review with an interesting pic...........

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