Columnist: LEE HARDY

UK directed by: Reed Morano Duration: 1H, 49 Min Writer: Mark Burnell Rating: 1934 vote. Level 1 It seemed barely advertised at all, even the trailers that did come out did so to no fanfare. Shame for the Bond producers trying to get something new off the ground only to get this result, but I think most people didn’t know it even existed and the people who did would see it depending on reviews. They weren’t good, hence this weekend. level 2 I don’t remember seeing a single ad for this movie. The only reason that I even knew it was coming was because I saw it mentioned on Reddit. level 1 Maybe because it looks like a straight to DVD action movie made back in the mid 2000's when action movies relied way too much on shaky cam. Thie movie would have done fine 10 years ago, but in the age of John Wick, Mad Max, and Mission Impossible 4-6, audiences would much rather see highly flying stunts and clearly shot choreography than see brief glimpses of punches and kicks that we barely even get to make out due to shaky cam. level 1 On top of all the other comments, the title is awful. Does not at all convey what this movie is about. Without knowing more about it, I assumed it was some indie music flick. I feel like a lot of people heard the title and decided not to investigate further. Bad title, next to no marketing, no real hook. Of course this was bound to flop. Feels like an awards play gone wrong, and having to be dumped in January to dwindle out and die. level 2 I still don't know what the title is in reference to... Any ideas? level 1 Little to no marketing, bad reviews, movie didn't look good from the trailers, blake lively. level 2 Why Blake Lively? The Shallows did gangbuster and A Simple Favor was a hit level 1 Comment deleted by user 1 day ago ( More than 5 children) level 2 A Simple Favor did almost 100m, The Shallows did 119m, Age of Adaline did 65m on a budget of 25m was 10 seconds of research too much for you level 2 Err. What mate. The Shallows did gangbuster and A Simple Favor was a hit. Dont let your ignorance blind you level 2 DOnt think blake lively has do anything with it honestly. level 2 Are you serious? Her recent movies before this have been hits. The reason this movie flopped is certainly due to Paramount doing a shitty job (as almost always) in marketing their movies. level 1 The article mentions several reasons for what happened and any one of them sounds like a fast train to flop-ville. They had script issues and funding issues. It seems so obvious what not to do when you're sitting at home like me, lol. level 2 It seems so obvious what not to do when you're sitting at home like me, lol. Yeah, it's important to remember that. But still, when you see some of the choices they make it's hard to believe how anyone thought it was a good idea. level 1 Something I feel like isn't being talked about enough is the title for this movie SUCKS. Has nothing to do with the actual film and it describes nothing. level 1 Every year or two they put out a femme fatale movie and it never really sets the world on fire. Lucy, Salt, Atomic Blonde, Colombiana, etc. 😴 level 2 Lucy made $458, 863, 600 worldwide on a $40, 000, 000 budget- if that's not setting the world on fire, very, very few films do. level 2 I liked all those movies. ;) Better examples would be last year's Anna or Red Sparrow (2018). level 2 I thought Salt made a fair amount of money? level 1 Well, you can believe feminists like Elizabeth Banks who claim men don't watch female-led action movies, or, the more plausible reasons like poor to little marketing, bad reviews, or unknown IP. I happen to strongly believe movie titles have a strong influence on whether people will even take a look at a trailer much less watch a movie. "Rhythm Section" sounds like a fucking musical drama. Stupid, uninformative, witty movie titles don't fill theater seats. level 1 It was a rehash of a rehash of a rehash that not one asked for level 1 I consider myself a film buff, and I literally don't know what this movie is.

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The rhythm section tn. The rhythm section wiki. The rhythm section book. The rhythm section cast. The Rhythm section 508. The rhythm section trailer 2019. The rhythm section reviews. Rank Title Domestic Gross (Weekend) Worldwide Gross (Cume) Week # Percentage Change Budget 1 Bad Boys for Life $17, 675, 000 $290, 751, 531 3 -48% $90M 2 1917 $9, 660, 000 $249, 046, 389 6 -39% $90M 3 Dolittle $7, 700, 000 $126, 618, 820 3 -37% $175M 4 Gretel & Hansel $6, 050, 830 $6, 050, 830 1 N/A $5M 5 The Gentlemen $6, 010, 000 $42, 932, 200 2 -44% $22M Films Reddit Wants to Follow This is a segment where we keep a weekly tally of currently showing films that aren't in the Top 5 that fellow redditors want updates on. If you'd like me to add a film to this chart, make a comment in this thread. Title Domestic Gross (Weekly) Domestic Gross (Cume) Worldwide Gross (Cume) Budget Week # Parasite $2, 830, 271 $33, 396, 776 $158, 418, 918 $11M 17 Jojo Rabbit $2, 053, 774 $27, 980, 411 $64, 580, 411 $14M 16 Frozen II $3, 373, 802 $472, 358, 370 $1, 430, 358, 370 $150M+ 11 Knives Out $4, 768, 842 $155, 734, 764 $290, 576, 925 $40M 10 Cats $141, 350 $27, 088, 185 $69, 888, 185 $100M 7 Star Wars: The Rise of Skywalker $7, 452, 881 $507, 056, 021 $1, 058, 056, 021 $275M 7 Little Women $6, 728, 231 $98, 770, 632 $162, 870, 632 $40M 6 Notable Film Closings Title Domestic Gross (Cume) Worldwide Gross (Cume) Budget 21 Bridges $28, 539, 757 $48, 539, 757 $33M As always r/boxoffice is a great place to share links and other conversations about box office news. Also you can see the archive of all Box Office Week posts at r/moviesboxoffice.

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The rhythm section movie release date. The rhythm section book summary. The rhythm section mark burnell. The rhythm section reaction. Director Reed Morano isn’t interested in delivering what we’ve seen before, or hitting the comfortable beats of what has come to define the espionage-action film. The Rhythm Section, written by Mark Burnell, who also penned the novel of the same name, had all the makings of a new spy franchise for Paramount and EON Productions, the producers behind the enduring Mission: Impossible and James Bond series, respectively. With three other books in the series, a modest production budget of $50 million, a stellar performance from Lively and a woman in the director’s chair, The Rhythm Section seemed like the perfect opportunity for those who have been making noise for the past several years about the next Bond being a woman and calling for new heroines unconnected to comic book IP. Yet the critical score for the film on Rotten Tomatoes sits at 32 percent, and it took in a dismal $2. 8 million over opening weekend. Neither the critical thrashing the film received nor the lack of box office support from audiences is deserved. But both are reminders that for as much as critics and audiences tend to want stories that are new and break the rules, they seem to reject the films that do so at a frequency that’s nothing short of alarming. We’ve come to expect the spy film to be sleek and sexy, populated with gadgets, physics-defying car chases, expertly choreographed combat, and as much sex appeal as can be squeezed into a PG-13 movie. The genre has typically been male dominated, and even the female-led films La Femme Nikita (1990), The Long Kiss Goodnight (1996), Salt (2010) and Atomic Blonde (2017) are often only validated by how much they share with James Bond, Ethan Hunt, Jason Bourne and John Wick. One of the most prevalent criticisms about The Rhythm Section is its pacing, which, quite deliberately, follows its own rhythm. For as often as Hollywood espionage films are dominated by fast-paced sequences that make long run times forgiving with carefully structured action and set pieces, the genre is just as defined by ex-MI6 agent and The Night Manager author John le Carre and his psychological and morally ambiguous protagonists as it is by the bombastic wish fulfillment of Ian Fleming's 007. The Rhythm Section is far more interested in Stephanie’s internal and moral struggles than it is in positioning her as a one of a kind badass. Familiar elements of the espionage movie are introduced in the film and then turned on their head. Stephanie’s training gives her just enough to get by, and her fighting skills are unrefined and ugly. Her arsenal is simple, with gadgets consisting of nothing fancier than an inhaler with a disorienting gas and a knife disguised as a hairbrush, neither of which get proper use. Her sex appeal is used as a means of transaction, no sexier than that of her former life as a prostitute. And the film’s car chase is one of collateral damage, close calls, and not a single smooth turn in sight. Even Stephanie’s missions are largely botched incidents she barely makes it out of alive. There’s nothing sleek or sexy about the spy game in The Rhythm Section; every aspect of Stephanie’s mission goes to show just how grueling and brutal this occupation is. While the moral complexities, pacing and R rating put Morano’s film in conversation with another unfairly dismissed spy film, Red Sparrow (2018), Stephanie’s mission and skill set is even further stripped of glamour than the world of that film. The Rhythm Section is the Blue Ruin of espionage films. Jeremy Saulnier’s film scraped the revenge film down its bones, offering insight into just how hard getting vengeance is, and just how much effort, time and ugliness it takes to kill a man. The Rhythm Section, in its deconstruction of the spy film, exists in a similar head space, one that doesn’t promise glory, satisfaction or heroism, only hurt. Producer Barbra Broccoli, along with her brother Michael G. Wilson, has been associated with the Bond franchise all her life. Her father, Albert R. “Cubby” Broccoli, was the man responsible for bringing Bond to the screen with Dr. No (1962). This is all to say that she knows the character better than anyone, and the spy genre is in her blood. When asked about the possibility of a female Bond in October 2018, Broccoli said, “He’s a male character. He was written as a male, and I think he’ll probably stay as a male. And that’s fine. We don’t have to turn male characters into women. Let’s just create more female characters and make the story fit those female characters. ” These comments, naturally, sparked some debate, but most agreed with Broccoli’s sentiments. Yet here we are, a little over a year later, and we have our female spy character, produced by Broccoli and Wilson in a film that doesn’t position the character as a Bond knock-off, but one with her own agency and unique window into the world of M16, and it seems few care. The problem with The Rhythm Section isn’t quality, and despite reviews that seem all too eager to dismiss what’s at hand, plenty of films have overcome the tomato splats to become box office success stories. While the film beats to its own drum, it’s plagued by the same issue that plagued The Long Kiss Goodnight, Salt, Atomic Blonde, and Red Sparrow and suffocated their franchise potential. None of these characters are based on popular IP or can be evaluated in the context of a beloved franchise. There’s little doubt that Black Widow will be a success in May, given that it has Marvel Cinematic Universe behind it and thus the investment of critics and audiences. And if Bond were to be a woman in the future, there’s little doubt that despite the raging from social media that would happen beforehand, people would see it. It’s even worth a wager that if Moneypenny (Naomie Harris) or Nomi ( Lashana Lynch) received spin-offs following No Time to Die, they would fare much better than The Rhythm Section. Inevitably, when the year reaches its end and discussions about a Black Widow sequel emerge, with the usual suspects complaining about a lack of new IP, and when the search for a new Bond begins, and the think pieces start suggesting the best actresses for the role, and when Hollywood doesn’t see a reason to greenlight theatrical mid-budget action movies with women that aren’t based on comic characters, think back on The Rhythm Section, think back on Red Sparrow, and think back on Atomic Blonde. We see the same lack of enthusiasm for new characters and new perspectives every year, despite the noise that suggests otherwise, and we’ll likely see it again and find ourselves having this same discussion. The Rhythm Section was left in the cold, and still, the beat goes on.

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I just saw it. It's not very good, but there's a handful of scenes I really liked. The middle section where she's training with Jude Law is by far the best part; the plot-heavy first and third acts don't work at all. You can tell it's been cut down from a much denser novel; there's moments where characters will suddenly just know something because the plot requires them to at that point, and it's never really clear why anyone needs Blake Lively's character at all. She's a terrible choice for this spy/revenge mission. Also, for a movie with a female director and lead, it's odd that there are more dead female characters (Blake Lively's mother, Jude Law's wife, Jude Law's old partner, a bad guy's kid daughter) in the movie than live ones (Blake Lively, the mother of a murdered guy, a suicide bomber).

The rhythm section rating. The rhythm section (2020) trailer. | Christy Lemire January 31, 2020 Blake Lively gives it her all in “The Rhythm Section, ” but the movie only meets her halfway. The glamorous star gets grungy for the role of Stephanie Patrick, an ordinary young woman who transforms herself into an international assassin to avenge the killing of her family. Lively previously has shown a yearning not only for this kind of darker material, as in her standout supporting role in Ben Affleck ’s “ The Town, ” but also for the physical demands of an action film, as she did so convincingly while fighting off a great white shark in the minimalist thriller “ The Shallows. ” Advertisement She’s deeply committed and down for everything “The Rhythm Section” throws her way, often quite literally. But despite some impressively inventive camerawork from cinematographer-turned-director Reed Morano (“The Handmaid’s Tale, ” “I Think We’re Alone Now”) and a couple of intense action sequences, the film as a whole feels rushed and frustratingly empty. Although writer Mark Burnell adapted the screenplay from his 1999 novel of the same name, the story seems truncated; it’s as if he understandably wanted to include as much as possible from his source material, yet still had to work within the constraints of a reasonable running time. Giant leaps take place in terms of time and emotion, leaving us behind in confusion and rendering the human connections hollow and baffling. Lively’s British accent is a bit spotty but she makes a strong impression from the start, when her character is at her lowest. It’s been three years since Stephanie’s father, mother, sister and brother died in a plane crash—a flight she was meant to take, as well. Now, she numbs the unimaginable pain with drugs and feeds her habit by working as a prostitute at a London brothel. Morano intercuts increasingly tight close-ups of Stephanie’s face—her shaggy hair, tear-stained cheeks and swollen eyes—with snippets of brightly lit flashbacks to happier times with her family, underscoring the shocking nature of her decay. When an investigative journalist (Raza Jeffrey) tracks her down and tells her the crash was no accident but rather an act of terrorism, it lights a fire under Stephanie to take back her life by taking out the killer. “The Rhythm Section” comes from James Bond producers Michael G. Wilson and Barbara Broccoli, and it features the kind of globetrotting, espionage and tangles with an international array of bad guys you’d expect from a 007 movie. Stephanie travels from London to Northern Scotland, Madrid, New York, Tangiers and Marseille in her pursuit of justice with a variety of wigs and identities at her disposal. But the film is trying to do something different in making Stephanie’s stumbles a central part of her character. She’s not slick, she’s frequently in over her head and her missions don’t always go as planned. In fact, they never do. Lively’s vulnerability is as compelling as her raw combat skills, and Morano’s female gaze is clear-eyed rather than ogling. But somewhere along the way, Stephanie becomes too enigmatic, despite the fact that she’s on screen nearly the entire time. We know very little about who she was before the tragedy, which was by design, but even a smidgen more backstory would have made the dangerous path she forges somewhat more plausible. When the exiled MI6 agent who’d been the journalist’s informant takes her in and trains her, it makes sense, although Jude Law is solid as the gruff character known only as B. Eventually, there’s a passing reference in the script to the fact that she’s spent months with this guy at his remote hideout at the edge of a Scottish loch, yet there’s little indication that they’ve formed the kind of emotional connection that would result from that kind of intense, intimate time together. And yet a pivotal fight training scene in B’s cramped kitchen—shot in a single take—is riveting because it’s so flailing and imperfect, and because there’s nowhere to hide. Lively’s demeanor has morphed from that of a wounded animal to a scrappy predator. Later, Morano’s claustrophobic depiction of a car chase through the narrow streets of Tangiers, with cinematographer Sean Bobbitt (“ 12 Years a Slave ”) inside the vehicle, also provides a visceral jolt. Stephanie also meets up in Madrid with Sterling K. Brown ’s character, a former CIA officer who now sells the intel he gleans to the highest bidder. He’s a crucial figure in her quest, but their relationship develops in ways that are both entirely unbelievable and narratively predictable. As charismatic as Lively and Brown are individually, they aren’t afforded the opportunity to establish any real chemistry with each other. And an interlude with an arrogant and wealthy bad guy ( Max Casella) who also played a key role in the airplane attack raises way more questions than it answers. That scene is a prime example of the film’s clangy tendency toward on-the-nose needle drops to comment on the action and set the mood. As Stephanie struts down Central Park West in a disguise, stalking her prey, we hear the ironic strains of the Brenda Lee classic “I’m Sorry”; later, as Stephanie closes in on her ultimate target, Elvis Presley ’s “It’s Now or Never” plays. The title itself refers to a technique B teaches Stephanie to help her calm down and regain control during moments of panic: “Your heart is the drums, your breathing is the bass, ” he says. “The Rhythm Section” itself could have used a little bit of soul. Reveal Comments comments powered by.

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