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    Alec Baldwin’s ‘Rust’ Gets Muted Release, Years After Fatal Shooting

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    The filmmakers said that they hoped the finished product would honor the work and memory of its cinematographer, Halyna Hutchins, who was shot and killed on the set.How do you plan the rollout of a film that became notorious for an on-set tragedy?The ill-fated western “Rust” has been trying to figure that out. The movie is finally being released on Friday, three and a half years after its cinematographer, Halyna Hutchins, was shot and killed by a real bullet fired from an old-fashioned revolver that its star, Alec Baldwin, was rehearsing with on a set in New Mexico.Now that the film is finally coming out after years of lawsuits, investigations and two criminal trials, its rollout has been decidedly muted. Unable to find traction at better-known film festivals, “Rust” premiered last fall at a small cinematography festival in Poland. Now, as it is being released in a limited number of theaters (with none so far in New York City) and on demand, it is forgoing the traditional red-carpet premiere, and Mr. Baldwin has not sat for any splashy interviews.The filmmakers said that their overriding goal in finishing the film and pushing for its release was to showcase the final work of Ms. Hutchins, who was a 42-year-old up-and-coming cinematographer when she was killed. And a legal settlement calls for some of the film’s earnings to go to her husband and son.“If I was to make a direct plea to someone about seeing the movie,” said the film’s director, Joel Souza, “I’d say that a lot of really good people worked really hard on finishing this movie to honor her.”Mr. Souza was injured in the shooting by the bullet that killed Ms. Hutchins, which passed through her and lodged in his shoulder. He said that at first he doubted he would ever want to return to the movie business. But eventually a plan came together to finish “Rust,” with Mr. Souza back in the director’s chair.The plan not only had the blessing of Ms. Hutchins’s husband, Matthew Hutchins, but it was at the heart of a settlement agreement he reached with the movie’s producers, including Mr. Baldwin, after he filed a wrongful-death lawsuit.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘A Minecraft Movie’ Arrives as a Surprise Box Office Smash

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      Weekend ticket sales totaled $163 million, Warner Bros. said, more than double the expected amount, ending a Hollywood dry spell.There are no fail-safe formulas in Hollywood, but this one comes close:Take an established yet underexploited (or musty) cultural property — preferably one that stirs strong feelings of nostalgia among young adults — and add stars playing to type, abundant visual effects and a savvy marketing campaign that makes core fans feel appreciated.It’s difficult to pull off, but Legendary Entertainment has done it repeatedly. The most recent example came over the weekend with “A Minecraft Movie,” which was made in partnership with Warner Bros. The film sold an astounding $163 million in tickets in North America from Friday through Sunday, according to Warner Bros., which distributed the film in addition to co-producing it. (On Sunday, analysts had estimated $157 million for the weekend.)Before release, citing advance ticket sales and surveys that track consumer interest, analysts had projected a domestic opening weekend of closer to $80 million. “It’s an absolute blast to see moviegoers around the world coming together to celebrate their love for Minecraft,” Mike De Luca and Pam Abdy, co-chairs of the Warner Bros. Motion Picture Group, said in a statement.“A Minecraft Movie,” a PG-rated comedic fantasy starring Jack Black and Jason Momoa and based on the 2009 block-building video game, also scored overseas, where it took in an additional $151 million.The film cost $150 million to make, not including global marketing costs. Warner Bros. covered 75 percent of the budget. Legendary, which is independently owned, shouldered the balance. Reviews were mixed.Hollywood in general, and Warner Bros. in particular, badly needed a hit. Box office revenue in the United States and Canada fell 11 percent in the first three months of this year compared with the same period in 2024, in part because of major flops like “Snow White” (Disney) and “Mickey 17” (Warner Bros.). There were also other underperformers, including a pair of low-budget duds from the once-unstoppable Blumhouse horror studio.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How ‘No Other Land’ Became an Unlikely Box Office Success

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      The Oscar-winning documentary has surpassed $2 million at the box office despite the lack of a traditional distribution deal.“No Other Land” has racked up festival awards, critical acclaim and the Oscar for best documentary feature. Yet the film, a narrative exposé about Israeli demolitions of Palestinian homes directed by two Palestinians and two Israelis, has not been acquired by a traditional North American distributor. This is partly a reflection of the collapse of studio interest in newsy documentaries as well as hesitance around a movie that condemns Israeli policies.But as the filmmakers rolled out the movie without the marketing muscle and prestige of a typical release, it has flourished. By the admittedly parched standards of post-pandemic theatrical releases of topical documentaries, it is a hit.“No Other Land” has been a top 25 film each of the past three weeks since its Oscar win, according to the film database Box Office Mojo, with ticket sales set to eclipse $2 million domestically by the end of next weekend. It was playing on 130 screens across the country last weekend, a small number when compared to the thousands of a studio blockbuster, but robust given its circumstances. (The film’s theatrical rights have been acquired in more than 20 other countries.)“Documentaries are having a harder time theatrically these days,” said Connie White, who has programmed “No Other Land” at a dozen theaters from Brookline, Mass., and Pleasantville, N.Y., to Tucson, Ariz., and Omaha. “This is remarkable.”At Film Forum in Manhattan, “No Other Land” sold out seven shows its opening weekend in February and a week’s worth of evening screenings after its Oscar win. It “is shaping up to be among the highest-attended films in our 55-year history,” said Sonya Chung, the cinema’s president and director.At the national Alamo Drafthouse chain, which screens studio tentpoles like “Captain America: Brave New World” and “Snow White,” “No Other Land” has been the 14th-biggest film since its Jan. 31 release, a spokesman said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      George Clooney’s ‘Good Night, and Good Luck’ Sets Broadway Box Office Record

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      “Good Night, and Good Luck” grossed $3.3 million last week, breaking a record that was set earlier this month by Denzel Washington’s “Othello.”Broadway box office records are falling like dominoes this season as a handful of starry plays entice fans to pay sky-high ticket prices to see their favorite movie stars up close and emoting.“Good Night, and Good Luck,” a new play starring George Clooney, grossed $3.3 million last week, the most money a nonmusical play has ever made during a single week on Broadway, according to data released Tuesday by the Broadway League. And it did so with just a seven-performance week: It is still in previews, and not yet doing Broadway’s typical eight.It shattered the previous record, which was set just two weeks earlier by a new production of “Othello” starring Denzel Washington and Jake Gyllenhaal, which grossed $2.8 million in the week that ended March 9. (Before that, the record had been held by “Harry Potter and the Cursed Child,” which grossed $2.7 million during a holiday week in late 2023.)“Othello” still has higher ticket prices — its top seats were being sold on its website for $921, compared to $799 for “Good Night, and Good Luck” — but “Good Night, and Good Luck” is playing in a larger theater, so it is taking in more money overall.The average ticket price for “Othello” was $303.15 last week — down from previous weeks because of free seats for journalists attending press performances and guests attending opening night. The average price for “Good Night, and Good Luck” was $302.07. But “Good Night, and Good Luck,” which is adapted from the 2005 movie about the broadcast journalist Edward R. Murrow, is playing in the 1,545-seat Winter Garden Theater, while “Othello” is in the 1,043-seat Ethel Barrymore.Broadway’s box office has traditionally been dominated by musicals, which tend to be more popular, to play longer, and to run in larger theaters than plays. The record for the most money made by a Broadway musical was set late last year, when “Wicked” grossed $5 million during a Christmas week when there were nine performances.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Inside the Controversy Surrounding Disney’s ‘Snow White’ Remake

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      Disney knew that remaking “Snow White and the Seven Dwarfs” as a live-action musical would be treacherous.But the studio was feeling cocky.It was 2019, and Disney was minting money at the box office by “reimagining” animated classics like “Aladdin,” “Beauty and the Beast” and “The Jungle Book” as movies with real actors. The remakes also made bedrock characters like Cinderella newly relevant. Heroines defined by ideas from another era — be pretty, and things might work out! — were empowered. Casting emphasized diversity.Why not tackle Snow White?Over the decades, Disney had tried to modernize her story — to make her more than a damsel in distress, one prized as “the fairest of them all” because of her “white as snow” skin. Twice, starting in the early 2000s, screenwriters had been unable to crack it, at least not to the satisfaction of an image-conscious Disney.“Snow White and the Seven Dwarfs,” which premiered in 1937, posed other remake challenges, including how to sensitively handle Happy, Sneezy, Sleepy, Dopey, Bashful, Grumpy and Doc. (One stalled Disney reboot had reimagined the dwarfs as kung fu fighters in China.)Still, Disney executives were determined to figure it out. They had some new ideas. More important, the remake gravy train needed to keep running.“It’s going to be amazing, another big win,” Bob Chapek, then Disney’s chief executive, said of a live-action “Snow White and the Seven Dwarfs” at a 2022 fan convention.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      With $921 Seats, Denzel Washington’s ‘Othello’ Breaks a Box Office Record

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      Demand to see Denzel Washington and Jake Gyllenhaal play Shakespeare has set a record in a year when big stars have been driving up the prices of Broadway plays.The hottest play on Broadway was written more than 400 years ago. Demand to see Denzel Washington and Jake Gyllenhaal face off in Shakespeare’s “Othello” is so strong that many center orchestra seats are selling for $921, helping the show break box office records.During its first week of previews, its average ticket price was $361.90, more than double that at the next highest-average-price show (“The Outsiders,” at $155.02). And last week “Othello” grossed $2.8 million, more than any nonmusical has ever made in a single week on Broadway.The huge numbers, for a show that has not yet been reviewed and that was selling briskly long before anyone had seen it, come at a time when the prices for the most sought-after pop concerts and sporting events are also quite high.And theater prices — at least for the most sought-after shows — are no exception.At its peak, “Hamilton” charged $998 for the very best seats during holiday weeks, and at one point a revival of “Hello, Dolly!” charged $998 for front row seats, which allowed fans of Bette Midler the possibility of being brushed by her glove as she strolled along a passerelle.Washington, seen leaving after a performance, is both highly acclaimed and enormously popular.Amir Hamja for The New York TimesBut “Othello” is distinguished by the large number of seats being sold at the highest prices, which is driving up its average ticket price. At many upcoming performances, the show is asking $921 for the first 14 rows in the center orchestra, and for much of the first two rows in the front mezzanine.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      5 Years After Covid Closed the Theaters, Audiences Are Returning

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      Broadway is almost back, and pop music tours and sports events are booming. But Hollywood, museums and other cultural sectors have yet to bounce back.It was five years ago today — March 12, 2020 — that the widening coronavirus pandemic forced Broadway to go dark, museums to shut their doors, concert halls and opera houses to go silent and stadiums and arenas to remain empty.At the time, they hoped to reopen in a month. It took many a year and a half.Since live performances resumed, the recovery has been uneven, but there are signs that audiences are finally coming back. Here’s a snapshot of where things stand:Broadway is 95 percent back.It’s been a slow road back for Broadway, but the industry is finally nearing its prepandemic levels. Attendance so far this season is at about 95 percent of what it was at the same point in the 2018-2019 season, its last full season before the pandemic, when it was setting records.“Oh, Mary!” has been a surprise hit this season, reminding the industry that shows can work without known I.P. or famous stars. “Wicked” is defying gravity thanks to the renewed interest brought by the film adaptation. For the first time since 2018, all 41 Broadway theaters have had shows in them this season. And there are more shows than usual regularly grossing more than $1 million a week.The crowds have returned to Broadway, and to the Times Square area. Sara Krulwich/The New York TimesBut — and this is a big but — profitability is down. That’s because the costs of producing on Broadway keep rising, so even reasonably strong ticket sales are not enough.Beyond Times Square, the picture is decidedly mixed. Touring Broadway shows have been selling quite strongly. But nonprofit theaters, both Off Broadway and in cities across the country, are struggling. Having burned through the government assistance that came at the height of the pandemic, many regional theaters are now reporting budget deficits and are programming fewer shows and attracting smaller audiences than they did previously.— More

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      in Music

      Hackers Stole $635,000 in Taylor Swift Ticket Scheme, Queens D.A. Says

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      Two people stand accused of taking hundreds of tickets from StubHub to redirect them to others who resold them, prosecutors said.Two people accused of stealing and reselling more than 900 tickets to the Taylor Swift Eras Tour and other marquee events are facing criminal charges for their role in the scheme, New York prosecutors said.Several people were involved in hacking into the computer system of the online ticket-sales platform StubHub starting in the summer of 2022, the Queens district attorney, Melinda Katz, said in a news release on Monday. They then resold the tickets on the same platform for a profit, which added up to $635,000.Tyrone Rose, 20, of Kingston, Jamaica, and Shamara P. Simmons, 31, of the New York City neighborhood of Jamaica, Queens, were arrested and arraigned on Feb. 27 in Criminal Court in Queens. The lawyers listed for them in court documents did not immediately respond to a request for comment.Mr. Rose and Ms. Simmons were both charged with second-degree grand larceny, first-degree computer tampering, fourth-degree conspiracy and fourth-degree computer tampering.Mr. Rose worked for an outsourcing company in Kingston, Sutherland Global Services, which was contracted by StubHub, according to the criminal complaint.Mr. Rose and a co-worker, who has not been arrested or publicly identified, used their access to part of StubHub’s ticketing system to find a way into a secure part of the network that they were not authorized to use, where information about ticket orders was stored.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      French Cinema Celebrates Its Covid Recovery

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      The French movie industry has been celebrating statistics that show an increase in movie attendance.Ronald Chammah, who owns a pair of small cinemas on the Left Bank of Paris, remembers well the grim days in 2022, when he wondered whether the French passion for moviegoing — a pastime that France invented 130 years ago — had been irreparably diminished by pandemic lockdowns.But that was then. On a recent afternoon, Mr. Chammah was sitting in a packed Parisian cafe happily describing the Sunday in late November when he sold out screenings from a roster of Armenian art-house directors — Inna Mkhitaryan, Artavazd Pelechian, Sergueï Paradjanov — known mostly to hard-core film buffs.“That day, we broke the record for our theaters,” Mr. Chammah said with a note of astonishment. “It was full, all day long — sold out, sold out, sold out.”The global movie business had a disappointing 2024, thanks in part to Hollywood strikes. At the Oscars on Sunday, Sean Baker, winner of best director for “Anora,” used his acceptance speech to lament the pandemic-era loss of hundreds of American movie screens. “And we continue to lose them regularly,” Mr. Baker said. “If we don’t reverse this trend, we’ll be losing a vital part of our culture.”But in France, there has been a more celebratory feeling of late, with fresh statistics suggesting that its audiences are leading the way in returning to what are lovingly known as “les salles obscures” — the “dark rooms” of their movie theaters.That celebration was infused with a very French idea about citizens’ moral obligation to support the arts and to do so somewhere other than at home. The Institut Lumière, a film society based in Lyon, declared that last year’s French admissions numbers amounted to a triumph over both the pandemic era and the “invasive digital civilization” of scrolling and swiping.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More