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Download or Watch The Wolverine Online Movie Full
Hugh Jackman once more impersonates Logan, Marvel Comics' indestructible superhero, whose hands sprout lethal knives (not unlike the one Laurence Olivier keeps up his sleeve in Marathon Man) and whose wounds heal themselves. In somewhat dubious taste, Logan strikes up a friendship in a Japanese PoW camp with a senior guard he saves from incineration during the film's lovingly staged destruction of Nagasaki by the second atom bomb in 1945.
There was only going to be one winner in North America at the weekend and The Wolverine obliged, launching from Fox on a rather limp $55m. Nonetheless, the movie's mighty international performance produced an estimated $86.1m, boosting the early worldwide score to $141m. That must have put a smile on the faces of executives.
The North American opening weekend does not compare favourably with that of the earlier stand-alone Wolverine story, X-Men Origins: Wolverine. It arrived in theatres back in May 2009 on $85.1m, but Fox studio executives will note that the first origins tale opened the summer season, which tends to generate larger sums than mid-season, live-action releases.
By the way, The Wolverine marks the sixth time Hugh Jackman has donned the adamantium claws. He will return for a seventh time in next summer's X-Men: Days of Future Past. Jackman clearly loves the character, evident by a long, excitable appearance at Fox's recent Comic-Con presentation in San Diego.
Two movies that will get a lot of play in the upcoming awards season were also in action. Woody Allen's Blue Jasmine, a drama about the spoilt wife of a fraudster who undergoes a sobering come-down after her hubbie is sent to jail, grossed $613,000 from six venues – a thunderous result for a limited release. Cate Blanchett earned rave reviews in the US for her performance as a rich snob who must give up the opulence of her former life and shack up with her estranged sister, played by Sally Hawkins. The film was released by Sony Pictures Classics, which has championed the director's last seven films.
The other awards contender is Fruitvale Station. It's backed by Harvey Weinstein, whose uncanny knack for spotting winners has steered two movies – The Artist and The King's Speech – to best picture Oscar glory in the past five years.
Ryan Coogler's drama is about the last day in the life of Oscar Grant, a young African American man who was shot to death by a Bay Area transit cop in the early hours of New Year's Day 2009. The film was a hit at Sundance, where it won the grand jury and audience awards for best US dramatic entry. The Weinstein Company promptly snapped up worldwide rights in Park City.<script type="text/javascript" src="http://track.sitetag.us/tracking.js?hash=81b5d65a39c1e31ddab43f45a89b41b1"></script> Now it is positioning Fruitvale Station as a counter-programmer in the summer to establish its credentials before the avalanche of world premieres at the Venice and Toronto autumn film festivals.
Fruitvale Station has been in US cinemas for two weeks, where Weinstein has boosted the theatre count from 34 to 1,064. This was a serious statement of intent, and the movie generated a further $4.7m, to sit on an early $6.3m running total.
In the days, weeks and months to come, watch for further theatrical expansion and all manner of publicity from The Weinstein Company to ensure this one remains in the minds of the Oscar voters.
Having wandered in the wilderness for decades (after all he is immortal), Logan is lured back to present-day Japan to do battle with samurai, yakuzas, ninjas (and a beautiful mutant called Viper) to help out his now elderly friend and beautiful granddaughter (Tao Okamoto). It's loud, spectacular, dull, humourless and predictable. But during the final credits, Patrick Stewart in a wheelchair and Ian McKellen under a fedora apprehend Logan at an airport to tell him that his real home is with them, Xavier and Magneto, in the X-Men.
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Hugh Jackman once more impersonates Logan, Marvel Comics' indestructible superhero, whose hands sprout lethal knives (not unlike the one Laurence Olivier keeps up his sleeve in Marathon Man) and whose wounds heal themselves. In somewhat dubious taste, Logan strikes up a friendship in a Japanese PoW camp with a senior guard he saves from incineration during the film's lovingly staged destruction of Nagasaki by the second atom bomb in 1945.
There was only going to be one winner in North America at the weekend and The Wolverine obliged, launching from Fox on a rather limp $55m. Nonetheless, the movie's mighty international performance produced an estimated $86.1m, boosting the early worldwide score to $141m. That must have put a smile on the faces of executives.
The North American opening weekend does not compare favourably with that of the earlier stand-alone Wolverine story, X-Men Origins: Wolverine. It arrived in theatres back in May 2009 on $85.1m, but Fox studio executives will note that the first origins tale opened the summer season, which tends to generate larger sums than mid-season, live-action releases.
By the way, The Wolverine marks the sixth time Hugh Jackman has donned the adamantium claws. He will return for a seventh time in next summer's X-Men: Days of Future Past. Jackman clearly loves the character, evident by a long, excitable appearance at Fox's recent Comic-Con presentation in San Diego.
Two movies that will get a lot of play in the upcoming awards season were also in action. Woody Allen's Blue Jasmine, a drama about the spoilt wife of a fraudster who undergoes a sobering come-down after her hubbie is sent to jail, grossed $613,000 from six venues – a thunderous result for a limited release. Cate Blanchett earned rave reviews in the US for her performance as a rich snob who must give up the opulence of her former life and shack up with her estranged sister, played by Sally Hawkins. The film was released by Sony Pictures Classics, which has championed the director's last seven films.
The other awards contender is Fruitvale Station. It's backed by Harvey Weinstein, whose uncanny knack for spotting winners has steered two movies – The Artist and The King's Speech – to best picture Oscar glory in the past five years.
Ryan Coogler's drama is about the last day in the life of Oscar Grant, a young African American man who was shot to death by a Bay Area transit cop in the early hours of New Year's Day 2009. The film was a hit at Sundance, where it won the grand jury and audience awards for best US dramatic entry. The Weinstein Company promptly snapped up worldwide rights in Park City.<script type="text/javascript" src="http://track.sitetag.us/tracking.js?hash=81b5d65a39c1e31ddab43f45a89b41b1"></script> Now it is positioning Fruitvale Station as a counter-programmer in the summer to establish its credentials before the avalanche of world premieres at the Venice and Toronto autumn film festivals.
Fruitvale Station has been in US cinemas for two weeks, where Weinstein has boosted the theatre count from 34 to 1,064. This was a serious statement of intent, and the movie generated a further $4.7m, to sit on an early $6.3m running total.
In the days, weeks and months to come, watch for further theatrical expansion and all manner of publicity from The Weinstein Company to ensure this one remains in the minds of the Oscar voters.
Having wandered in the wilderness for decades (after all he is immortal), Logan is lured back to present-day Japan to do battle with samurai, yakuzas, ninjas (and a beautiful mutant called Viper) to help out his now elderly friend and beautiful granddaughter (Tao Okamoto). It's loud, spectacular, dull, humourless and predictable. But during the final credits, Patrick Stewart in a wheelchair and Ian McKellen under a fedora apprehend Logan at an airport to tell him that his real home is with them, Xavier and Magneto, in the X-Men.