Day: August 11, 2024

New York — In the Ryan Reynolds-Blake Lively box-office showdown, both husband and wife came out as winners. 

Reynolds’ Marvel Studios smash “Deadpool & Wolverine” remained the top movie in North American theaters for the third straight week with $54.2 million in ticket sales according to studio estimates Sunday. Worldwide, it’s now surpassed $1 billion.

“Deadpool & Wolverine,” though, was closely followed by “It Ends With Us,” the romance drama starring Lively, which surpassed expectations with a stellar $50 million debut. 

Together, the films created a kind of family edition of “Barbenheimer,” in which a pair of very different movies thrived in part due to counterprogramming. Only this time, the opposite movies were fronted by one of Hollywood’s most famous couples. The films’ one-two punch wasn’t entirely unprecedented. In 1990, Bruce Willis’ “Die Hard 2” led the box office while Demi Moore’s “Ghost” came in second. 

The weekend also featured a high-priced flop. “Borderlands,” the long-delayed $120-million videogame adaptation directed by Eli Roth, launched with a paltry $8.8 million for Lionsgate. The film, starring Cate Blanchett, Kevin Hart and Jack Black, was shot all the way back in 2021. After delays and reshoots, it finally landed in theaters effectively dead-on-arrival; it scored just 10% fresh on Rotten Tomatoes and seems likely to contend for one of the worst movies of the year. 

Meanwhile, “Deadpool & Wolverine,” which co-stars Hugh Jackman, continued its march through box-office records. The film, directed by Shawn Levy, is only the second R-rated movie to reach $1 billion, following 2019’s “Joker.” In three weeks, it’s already one of the most lucrative Marvel releases and trails only Disney’s other 2024 smash, “Inside Out” ($1.6 billion worldwide) among movies released this year. 

Lively makes a cameo in “Deadpool & Wolverine” but she both stars in and produced “It Ends With Us.” Adapted from the bestselling romance novel by Colleen Hoover, Lively stars as Lily Bloom, a Boston florist torn between two men, one from her present life (Justin Baldoni, who also directed the film) and another who was her first love (Brandon Sklenar).

“It Ends With Us” cost a modest $25 million to produce, so it will turn a significant profit for co-financers Columbia Pictures and Wayfarer Studios. Like another female-skewing summer-release book adaptation from Sony, “Where the Crawdads Sing,” “It Ends With Us” could hold well through the typically slower August box-office period. Audiences gave it an A- CinemaScore. 

Reynolds and Lively occasionally played up the convergence of their movies. Earlier this week, Reynolds posted a video of himself posing junket questions to Sklenar. The timing paid off especially for Lively, whose film doubled earlier opening-weekend forecasts. 

Neon’s “Cuckoo,” a German Alps-set horror film by filmmaker Tilman Singer, opened with $3 million on 1,503 screen. It stars Hunter Schafer and Dan Stevens.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday. 

1. “Deadpool & Wolverine,” $54.2 million. 

2. “It Ends With Us,” $50 million. 

3. “Twisters,” $15 million. 

4. “Borderlands,” $8.8 million. 

5. “Despicable Me 4,” $8 million. 

6. “Trap,” $6.7 million. 

7. “Inside Out 2,” $5 million. 

8. “Harold and the Purple Crayon,” $3.1 million. 

9. “Cuckoo,” $3 million. 

10. “Longlegs,” $2 million. 
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NEW YORK — Visitors to corn mazes across the country are finding a familiar and joyous figure in the winding labyrinth of tall stalks. Snoopy.

More than 80 farms in the U.S. and Canada have teamed up with Peanuts Worldwide to create “Peanuts”-themed mazes to celebrate the beloved strip’s 75th birthday this summer and fall.

A massive Snoopy rests on top of his doghouse in a maze at Dull’s Tree Farm in Thorntown, Indiana, and he’s depicted gleefully atop a pumpkin at Downey’s Farm in Caledon, Ontario.

“All of these events helps keep my dad’s legacy alive,” says Jill Schulz, an actor and daughter of “Peanuts” creator Charles M. Schulz.

“As someone who can’t even keep houseplants alive, the fact that they can do that with a corn maze and get the artwork right and create a fun experience for all ages is pretty incredible,” she adds, laughing.

The mazes — which span 35 states and provinces, from California to New York, Ontario to Texas — are expected to attract more than 2 million visitors. Farmers are signing up for the free service because the mazes are part of the customer lure, in addition to things like hay rides, fresh produce and pumpkin carvings.

Each maze is designed for the size of the farm — from 1.5 acres to 20 acres — and are mostly corn but also sunflowers. They’re custom created by the world’s largest corn maze consulting company, The MAiZE Inc.

The Utah-based Brett Herbst, who leads the company and who launched his first corn maze in 1996, says technology has only somewhat changed the way corn mazes are made.

“The first year we did it, we just used a weed whacker with a saw blade on it when the corn was fully grown,” he says. “Now we do it when it’s short and we go in and either mow it or rototill it. We design it all on a computer, but most of it we actually just go draw it out on the ground by hand.”

He and his team have over the years designed mazes with everything from the faces of presidential candidates, Oprah Winfrey, zombies, John Wayne and Chris LeDoux. Charlie Brown and Co. just work well, he says.

“It’s very nostalgic and just seemed like a very natural fit from the get-go to embrace that with ‘Peanuts,'” he says. “It’s harvest time. It’s kind of become this iconic thing.”

There’s an art and a science to maze building, a balance between maintaining the integrity of the image, but also making it a true maze where people can actually get lost in. “That’s definitely a challenge there,” says Herbst. “You want to accomplish both as much as possible.”

“Peanuts” made its debut Oct. 2, 1950. The travails of the “little round-headed kid” Charlie Brown and his pals eventually ran in more than 2,600 newspapers, reaching millions of readers in 75 countries.

The strip offers enduring images of kites in trees, Charlie Brown trying to kick a football, tart-tongued Lucy handing out advice for a nickel and Snoopy taking the occasional flight of fancy to the skies. Phrases such as “security blanket” and “good grief” are a part of the global vernacular. Schulz died in 2000.

There’s something timeless about corn mazes, and that’s what excites Jill Schulz so much. They offer kids a chance to disconnect from their online life and celebrate something their parents did.

“It’s great to have an opportunity to just bring kids to events that are old school, because it’s also important for parents and grandparents to introduce something they loved to do as a child,” she says.

“I think we all need a little innocence for our children right now with all the technology out there. We need a little ‘put down your phone and go out and have some good old fashioned, old school family time.’ I think that’s important.”
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PARIS — Paris is getting a colorful splash of Olympic creative spirit with nearly 30 vibrant street art pieces that have popped up on bustling metro station walls, a large billboard at the airport and in front of City Hall.

One shows a drawing of French fencer Ysaora Thibus in action. Another has canoers paddling down the Seine River. Some others include people enjoying themselves in a busy district. The original art was spread throughout Paris and other nearby host cities around the Olympic and Paralympic sites.

“During this time of the Olympics, it’s a lot of energy and people coming from all over the world,” said New York native JonOne, who has lived in Paris for the past three decades and is viewed in the street art world as a graffiti pioneer. He’s one of six renowned street artists from four continents whose work is currently on display at train stations, airports, taxis, digital screens and billboards.

The artists were selected through a campaign spearheaded by Visa to help support small businesses. They hail from France (Marko 93 and Olivia De Bona), Brazil (Alex Senna), Australia (Vexta) and the United States (Swoon).

“Why not use street art?” said JonOne, 60, whose artwork can be found in several places in Paris including the Palais Royal–Musee du Louvre station. It took two months with five collaborators to finish the blue, white and red abstract expressionist-style graffiti, which covers 250 square meters of the wall at the busy station.

“It projects a lot of energies and youth culture,” he said. “It’s a good moment to show our artwork.”

The campaign was designed as an open-air exhibition curated by Nicolas Laugero Lasserre, an expert in urban art. The 28 pieces of original artwork will remain on display until September 8.

“Just like high-level athletes, artists share values of tolerance, open-mindedness, questioning and self-surpassing,” said Lasserre, who has organized over 50 exhibitions with public and private institutions, including an exhibition at the Paris City Hall. “Associating art and sport is one of the cornerstones of Olympism.”

Each creation highlights the spirit of the neighborhoods — such as Saint-Denis, Montmartre and Rue Montorgueil — capturing the vibrancy of cafes, bookstores and shops that have become an essential fabric of Paris and the wider Ile-de-France region. They can also be found at the airports of Lille, Lyon and Marseille, hosts of some Olympic events.

“We asked the artists to show us their version of Paris in the most authentic way,” said Juan Arturo Herrera, a business administrator and marketing executive at Visa International. Last month, he carried the Olympic flame over a 200-meter course in eastern France.

“Street art is the most accessible of arts,” he said. “It’s universal. We’ve seen it for decades now in cities. It has made its way through museums and we wanted to bring it back out. We see this as the biggest exhibition of open-air art in the public space.”

De Bona, a Parisian, feels proud to bring her artwork to her hometown, family and visitors from around the world.

“It was so moving,” she said. “I see how the art makes my city so beautiful. It’s a privilege to represent France for all these people who are coming to Paris from all over the world.”

De Bona, 39, remembered when street art and graffiti were not widely accepted by the masses. But now, she’s witnessed a positive shift in the perception and within the industry, which was once male-dominated.

“People need pictures in the streets,” she said. “It needs to be welcoming the arts. We are the bridge between people who don’t think it fits in the museum. We bring art to the people. This is our way to express ourselves and exist.”

Marko 93 said his passion for street art kept him pushing through the words of skeptics. At a young age, he was intrigued by watching the evolution of graffiti during the 1980s hip-hop era in New York, which he called the “promised land” of graffiti.

“It’s all about perseverance,” said the 51-year-old during his live performance, painting a fencer along the Seine. “Art is also about perseverance. This passion pushes us to move forward and beyond our limits.”

One day, JonOne would like to see arts reintroduced as competition at the Olympics.

Art competitions first came into fruition at the 1912 Olympics in Stockholm ,with medals awarded in five categories: architecture, literature, music, painting and sculpture. The International Olympic Committee ended the competitions in the 1948 Games, and an attempt to bring it back was denied four years later.

“Artists are like athletes, too,” JonOne said. “I respect athletes in basketball and runners. Art is not really a sport, but it should be included in the Olympics. Just surviving as an artist is an Olympic sport.”
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