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The call of the wild soundtrack. The Call of the wild. Harrison Ford ’s canine adventure “The Call of the Wild ” is shaping up to be the latest box office dud for the Disney -owned 20th Century. The film, based on Jack London’s best-selling novel, has made $45 million in the U. S. and $79 million globally after two weeks in theaters. That wouldn’t be a bad result, had “The Call of the Wild ” cost a moderate amount to make and market. However, it carries a price tag above $125 million due to expensive (and widely criticized) usage of CGI. Sources close to the production and rival studio executives estimate that the film needs to make between $250 million and $275 million to break even. Given the unlikeliness that it’ll reach those ticket sales, “The Call of the Wild” is expected to lose around $50 million. TSG co-financed the film, which will help mitigate damages for Disney. After Disney broke box office records last year with billion-dollar blockbusters like “Avengers: Endgame, ” “The Lion King” and “Captain Marvel, ” the studio is well positioned to withstand a hit or two. But since formally acquiring 20th Century Fox last year, Disney has jettisoned off a string of box office misfires from the Murdoch’s film empire. Most notably, the company blamed much of its $170 million quarterly write-down in August on “X-Men” spin-off “Dark Phoenix, ” a film that cost $200 million and tapped out with $250 million globally. “Underwater” with Kristen Stewart, buddy comedy “Stuber” and the animated “Spies in Disguise” were also theatrical disappointments. “The Call of the Wild” received mixed reviews from critics, though audiences seemed to like it more and gave it an “A-” CinemaScore. The film debuted to $24. 8 million last weekend, ahead of expectations. Box office analysts believe it benefitted as Ford’s first major on-screen film role in years. “The Call of the Wild” declined 46% in its sophomore outing and brought in $13. 3 million in North America, an average result for a family film. Internationally, “The Call of the Wild” has made $33 million from 50 foreign markets, representing 91% of its overseas footprint. However, Coronavirus has closed theaters in China, Italy and Korea, which could hinder ticket sales abroad. “The Call of the Wild” was written by Michael Green (“Logan, ” “Blade Runner 2049”) and directed by Chris Sanders. It follows a man (Ford) who crosses paths with a dog named Buck, who was captured from his California home and sold to freight haulers. Los Angeles landmark Magic Castle has laid off almost all of its staff, as the spread of coronavirus affects businesses nationwide, Variety has learned. The members-only club pink slipped 189 employees on Saturday, insiders said, and will operate on a skeletal staff of nine to maintain the historic Hollywood clubhouse, which sits just behind the [... ] It could be lights out for the movie theater business if Congress doesn’t pass the trillion-dollar coronavirus rescue bill. That’s the stark message from John Fithian, president and CEO of the National Association of Theatre Owners (NATO). “The situation is that dire, ” Fithian told Variety, taking a break from working the phones in Washington D. C., [... ] SAG-AFTRA President Gabrielle Carteris has issued a video detailing the union’s response to the coronavirus pandemic. “Make no mistake: We are in this together, ” she said. “I want you to know that we, SAG-AFTRA, are responding to this and taking action in real time, and I mean that’s morning and night and into the wee [... ] Every time a new mental-health therapy arrives, it’s propelled by the ideology ? and the testimonials ? of a religion. Sigmund Freud’s descriptions of psychoanalysis all point to the miracle-cure mythology of the moment when a patient, at long last, touches the nerve of his or her suppressed trauma and is liberated from it. In [... ] An elementary school classroom may seem an odd place to launch a romantic comedy that soon finds its protagonists coupling with abandon in a slew of quasi-public spaces. But in the rom-com “Hooking Up” ? available digitally and on demand ? that’s precisely where magazine writer Darla emerges from, having had an afterschool special with [... ] With thousands of theaters shut down across the country due to the coronavirus pandemic, filmmaker Christopher Nolan urges people to show their support when they reopen. In an essay for The Washington Post, Nolan calls movie theaters a “vital part of social life” that not only provides entertainment for everyone, but also jobs for many [... ] France’s culture minister has passed a decree allowing the National Film Board (CNC) to tweak the country’s notoriously strict window release policy as the industry struggles to cope with the coronavirus pandemic and lockdown. Under the exceptional measures, films that came out last week and were in theaters as of March 14 ? when cinemas [... ].
After a period of reflection, lasting as long as four seconds, I decided to watch “The Call of the Wild, ” a new film of Jack London’s novel, at a dog-friendly screening. There really was no choice. The opportunity to see a pug fall into a bucket of popcorn doesn’t come along that often, and you should grab it with both paws. And don’t worry about the disturbance. There isn’t any. A canine audience, I can now confirm, is infinitely calmer and more respectful than its human equivalent. No texting, no soda-sucking, and no chatter, save for a thoughtful yap every now and then. In the row behind me was Paulie, the most?perhaps the only?well-behaved cockapoo in captivity. “He’ll fall asleep before the movie starts, ” his owner predicted, and so it proved. The seat in front was occupied by Gatsby, a Chinese crested, though whether he was of the hairless or the powderpuff variety was hard to tell in the dark. Sometimes my view was obscured by his topknot, but, that aside, Gatsby was great. Afterward, I was introduced to a French bulldog named Daffodil, aged eleven months, and assured that she had been a model of propriety throughout. Try taking a one-year-old child to a full-length film and see how you get on. The hero of the movie, as of the novel, is Buck, a cross between a St. Bernard and what London describes as a “Scotch shepherd, ” presumably a fervid Presbyterian. Buck, a family pet in California, is kidnapped and sold, learns the ropes of pulling a sled in the frozen North, and winds up as the free-running master of himself?“a thing that preyed, living on the things that lived. ” Such was the template laid down on the page, and, by and large, it’s faithfully followed onscreen. The one major tweak, introduced by the writer, Michael Green, and the director, Chris Sanders, involves the demeanor of Hal ( Dan Stevens), a greenhorn who assumes brief ownership of Buck. In the book, he is cruel but useless; in the film he becomes a villain so melodramatic, with his bristling mustache, his lunatic stare, and his suit of scarlet plaid, that Chaplin would have refused him entry to “ The Gold Rush. ” Then, there is Harrison Ford. When I first saw his name on the poster for “The Call of the Wild, ” I didn’t know whether he would be playing John Thornton, the kindly adventurer who takes Buck under his wing, or Buck himself. One thing’s for certain: Ford is indisputably the shaggier dog. His beard would be the envy of any husky, and, as befits his growl, he serves as the narrator, too, intoning the sort of gee-whiz buildup (“Skagway, Alaska, gateway to the Yukon”) that I associate with old travelogues on TV. Alas, poor Thornton is saddled with a maudlin backstory, about a son of his who died and a marriage that collapsed. Isn’t there enough mushing in this tale already? Don’t the filmmakers realize that Ford can supply the necessary sorrow with his gaze and his voice alone? Compare Robert Redford, in “ All Is Lost ” (2013), as another lonely grump; he never revealed what private storms had driven him to sea, as a solo yachtsman, and he was right not to. It was the quest that counted. The rest was not our business. What really stifles this “Call of the Wild, ” oddly enough, is Buck. In previous versions (with Clark Gable as Thornton, say, in 1935, or Charlton Heston, in 1972), dogs were played by dogs. Their agents wouldn’t have it any other way. The newfangled Buck, however, is unreal, from tail tip to snout; the fangling was done by computer, though Terry Notary?recently seen in “ The Square ” (2017), mimicking a crazed ape?provided a visual blueprint, performing Buckishly alongside Ford. The result is remarkable, yet it’s still a hairbreadth away from credible, and I reckon that the pooches in the cinema could tell the difference. They could spy a big Buck, and they could hear the rustle of his digital fur, but they couldn’t smell him. Maybe that’s why they kept so quiet. To return to London’s novel these days, and to read of Buck’s desire to “wash his muzzle to the eyes in warm blood, ” is quite a shock. Was a more savage text ever approved for use in schools? First published in 1903, it remains ferally fast and lithe, the teeth of the prose barely blunted by the years, and there’s something prophetic, at the start of a warring century, in London’s vision of civilization molting away at speed?“the decay or going to pieces of his moral nature, a vain thing and a handicap in the ruthless struggle for existence. ” That’s Buck, forgetting his former self and learning to swipe food, but it could be any man in a similar fix. Little of that struggle persists in the current film, which softens everything it touches. Mortal peril gives way to slapstick; atavistic fears are reduced to a quizzical cock of the head; and, as for Buck, he’s brave, he’s loyal, and he’s about as forbidding as Scooby-Doo. As I left the screening, I bumped into Zeus, an Alaskan malamute of lupine proportions. Though a gentle soul, he had immense self-possession and a magnificent coat, and, if it came to a straight fight with Buck?not London’s Buck but the one we’d just been watching?my money would be on Zeus. To be honest, even a Chinese crested powderpuff would be in with a chance. The fact that the new Jane Austen adaptation is titled not “Emma” but “Emma. ” should be taken, I imagine, as a punctuational joke about period drama. The script is by Eleanor Catton, the author of “ The Luminaries, ” and the director is Autumn de Wilde. Until now, she has been famed for her music videos and her photographs of bands, including Death Cab for Cutie. Ideal training for the world of Regency England. Anya Taylor-Joy plays Emma Woodhouse, “handsome, clever, and rich. ” At the mellow age of twenty-one, Emma is an old hand at both scrutinizing and choreographing the romantic endeavors of other people. Or so she likes to think, though her neighbor, senior, and friend Mr. Knightley (Johnny Flynn) would beg to differ. To him, she is a meddler. No good, he believes, will come of her intrusions, especially in the case of Harriet Smith (Mia Goth), a young lady of nice comportment but unknown parentage. Guided, or misguided, by Emma, Harriet spurns the hand of a mere farmer and aims for seemlier targets. There is Mr. Elton (Josh O’Connor), the local vicar, who, like Mr. Collins, in “ Pride and Prejudice, ” reminds us that Austen could, for the daughter of a rector, be withering about men of God; Frank Churchill (Callum Turner), an incoming cad with thin eyes, beneath whose layers of waistcoat lurks either a heart of flint or, more likely, no heart at all; and even, yes, Knightley himself. This is one of those films which begin haltingly and, bit by bit, develop a smooth stride. The early sequences are peremptory and pastel-hued, with a jaunty score and a whiff of the fashion show. The haberdashery in Emma’s village is a decorous riot of silks and trimmings, but so is the home that she shares with her father (Bill Nighy), a first-class hypochondriac. (In one lovely shot, he is surrounded by so many screens, each designed to fend off a nonexistent draft, that all you can see is his head. ) Fans of Sofia Coppola’s “ Marie Antoinette ” (2006) will be in heaven, as will anyone who labors under the impression that being alive in Austen’s day was like dwelling inside a doll’s house, or a hatbox.
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