theaters

In record time since its release in theaters, one of the most resounding box office failures of the year arrives tomorrow on Prime Video

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‘He-Man and the Masters of the Universe’ comes to Prime Video this Wednesday, July 22, just forty-seven days after its release in theaters. The reason for arriving at streaming With such a short margin of time it is its failure at the box office: it opened with 29.4 million dollars in North America, remained at 64.6 million domestically and closed the world tour at 113.3 million, very far from recovering a budget of between 170 and 200 million dollars. The rapid arrival of films that better captured the public’s attention, such as ‘Toy Story 4’ or the surprise hits of ‘Backrooms’ and ‘Obsession’, ended up burying it. However, the film is very enjoyable and moves away from the greatest temptation that a project to adapt a toy franchise from the eighties like this one can have: making it adult and reflective. Travis Knight, director of the excellent ‘Bumblebee’, does not darken Eternia: he opts for bright colors and Jared Leto’s Skeletor who enjoys every line of the cartoon villain without taking himself too seriously. Nicholas Galitzine builds a clumsy rather than heroic He-Man, closer to a clueless kid from a family movie from the decade in which dolls were rampant than to Dolph Lundgren, and that character is what guides the entire film. Seeing her now, at home and without paying an entrance fee, is a good way to meet her again. It works better for someone who recognizes the names Roboto or Tri-Klops than for someone looking for the founding film of a new fantasy franchise, mind you. But Luckily, the film also holds up without the need for those winks.with action shot with skill and a cast that delivers performances (Idris Elba as Duncan, Camila Mendes as Teela, Alison Brie as Evil-Lyn) that are in the perfect (and not at all complacent) space between self-parody and more or less sincere emotion. It is not clear if the film will find an audience as the even better ‘Dungeons & Dragons: Honor Among Thieves’ from 2023 ended up finding, but what is guaranteed is that the Mattel franchise has just definitively entered a period of hibernation that, hand in hand with another summer puncture, ‘The Mandalorian & Grogu’, leaves a very clear lesson: nostalgia millennial It is no longer enough, on its own, to sustain a blockbuster. In Xataka | If you think Nicolas Cage can’t go any further, try this strange gem that just arrived on Prime Video

The highest-grossing superhero movie in history returns to theaters to repeat its success with a longer version

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In 2019, Marvel re-released ‘Avengers: Endgame’ with unreleased footage to take the title of highest-grossing film in history from ‘Avatar’. The crown lasted a year and a half. In 2026 the maneuver is activated again, this time linked to ‘Avengers: Doomsday’. It is the jewel in the crown of the Marvel team and Disney is not going to stop squeezing it. The return Marvel has confirmed that ‘Avengers: Endgame’ returns to theaters on September 25, 2026 under the title ‘Avengers Endgame Encore’. The new version includes a special introduction, additional scenes and a final scene that, for now, will only be seen in IMAX and Infinity Vision screenings, the premium screen system that Disney presented a few months ago. ‘Endgame’ continues to be the ceiling that Marvel Studios has not touched again, neither at the box office nor in the feeling of collective event that surrounded it, and that spirit is what the studio wants to evoke for ‘Avengers: Doomsday’. What’s new? Joe Russo has confirmed that the scenes filmed for this re-release are set in ‘Doomsday’, and describes them as a fundamental piece to build a bridge to the new film. Marvel already used this re-release formula, almost identical, with ‘Endgame’ itself: in June 2019, just two months after its premiere, the film would return to theaters with seven minutes of extra footage and an explicit objective: to surpass ‘Avatar’ at the box office before the premiere of ‘Spider-Man: Far From Home’. That maneuver worked. On July 20, 2019, during the Marvel panel at San Diego Comic-Con, the studio confirmed that ‘Endgame’ had surpassed the $2.789 million accumulated by ‘Avatar’ until then, thus becoming the highest-grossing film in history. The celebration was short-lived: in March 2021, ‘Avatar’ was released again in China and regained the title in a single weekend. Since then, the distance between both films has not stopped growing: today ‘Avengers: Endgame’ accumulates 2,799 million dollars compared to 2,923 million for ‘Avatar’. There is almost 124 million difference, much more than what separated both films in 2019. Fall without Avengers. The collections of the ‘Endgame’ films have suffered a constant decline. Let’s remember some cases: ‘Eternals’ raised 402 million dollars with a budget of between 200 and 250 million. ‘Black Widow’ stood at 379 million, weighed down by its simultaneous premiere on Disney+. ‘Quantumania’ suffered the worst second weekend drop in Marvel Studios history. ‘The Marvels’ closed that streak without achieving the financial success that the studio expected. The real goal of ‘Avengers Endgame Encore’ is no longer to recover a record that today seems unattainable, but to rebuild the feeling of an event that Marvel lost years ago: to remind the public, just before December and the premiere of ‘Doomsday’, why they cared about this story. What is played in December. ‘Avengers: Doomsday’ hits theaters on December 18, 2026, the same day as ‘Dune: Part Three’, a coincidence that already has generated friction for the distribution of IMAX screens. Ticket sales for Infinity Vision screenings of ‘Avengers: Doomsday’ start right now, on July 20. Five days later, at San Diego Comic-Con, Marvel will show the first official trailer for the film. Depending on how both events are received, we will see if Marvel is in a position to bottle again that seemingly unrepeatable lightning bolt that was ‘Endgame’ In Xataka | In just one month in office and with 1,000 layoffs, Disney’s new CEO dismantles the art department that built the MCU

On HBO Max you have the most brutal action comedy just a few weeks after hitting theaters, and it is already number one in 50 countries

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Asia Reaves needs a job and accepts the first one offered to her: housekeeper at The Virgil, an exclusive skyscraper in New York. But that building has been swallowing its tenants for years without leaving a trace: well, not the building, but the cult that hides behind its walls. That premise holds ‘They are going to kill you‘, action and horror comedy that tiptoed through the theaters a couple of months ago and is now one of the most refreshing and forceful proposals in the catalog of HBO Max. A whole hodgepodge of genres to which its director, Kirill Sokolov, is no stranger. His debut, ‘Why don’t you die?’, already stood out for its extreme use of violence. In “They Will Kill You” he repeats that approach but with a much larger budget and a visual work that links the film to aesthetes of the trumpet and the fountains of blood like Tarantino or Sam Raimi. All of this seasoned with a little bit of ‘The Devil’s Seed’ due to the Satanist element, its fabulous supporting cast (where Heather Graham and Patricia Arquette stand out) and the imposing prominence of the art-deco building. The film coincided in theaters with the sequel to ‘Wedding Night’, with which it shares more than one common plot detail: female protagonism, cults in mansions and a bilious forcefulness in his anti-rich message. A great double bill for one night that will send you to bed with a few bruises (you have ‘Wedding Night 2’ on Disney+, in fact). The film suffered a small and undeserved setback in theaters, but it has found its place on the Warner platform, where it started as number one in 51 countries just one day after its arrival on streaming. As happens with so many other films that find a place in digital after a lackluster track record in theaters, the playful, direct and second-round format suits it wonderfully in small spaces. Don’t forget the raincoat, the devil carries katanas. In Xataka | Today “a masterpiece that will go down in history” arrives on Netflix, thanks to an original approach to a unique science fiction story

‘Backrooms’ is going to return to theaters with a 15-minute longer version. If successful, we will have a dangerous precedent

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‘Backrooms‘ has raised a surprising 330 million in theaters with its first version in theaters. Wait: first? Are there different versions of ‘Backrooms’? Now it is: five weeks after the premiere, its production company A24 is bringing it to theaters again, this time with 15 minutes of exclusive material. Obviously it is not the first time that the industry has made moves of this type, but it is the first in which there is so little time between versions. And it sets a precedent that could give us more than one disappointment in the future if it is successful. The return A24 to relaunch ‘Backrooms’ on July 3 under the title Backrooms: Everything Must Go Edition, just five weeks after its original premiere on May 29. They are 15 minutes of “unreleased content in theaters”, and with special features: they will be included in block after the final credits, they have been directed by the film’s director Kane Parsons and it will be exclusive to this re-release and will not be seen in home editions or streaming. Less and less. The director’s cut or director’s cuts (something that this ‘Everything Must Go Edition’ is not exactly, since the new footage will not modify the existing one, but is extra material after the credits, like a “deleted scenes” extra on a DVD) are not new in the industry. They have existed since 1942, when Chaplin’s ‘The Gold Rush’, from 1925, was re-released with new material. The modern concept was born in the seventies with Peckimpah’s ‘The Wild Bunch’, when a restored version was released in cinemas. The most popular was the Director’s Cut of ‘Blade Runner’, ten years after the release of the original, with changes that modified the meaning of the first film. In all of them and others equally popular (and often released in cinemas), such as ‘Close Encounters of the Third Kind’ or ‘The Gates of Heaven’, there is a coincidental pattern, and that is that the rerun comes years after the original premiere. And often, accompanied by a discussion about the emasculating power of the industry, which prevents the full expression of the creator’s version. He director’s cut It is an advertising tool, yes, but it is also a vindication of the films without interference from the studios. This time, the studio itself releases an extended version when no one has complained that the first cut is mutilated. The danger. It’s clear what’s at stake here. If the move is successful, the next step is to release intentionally “incomplete” versions to generate two box office cycles. First the base audience is reached, and then, weeks later and when the hypethe film is re-released with “exclusive” material. Here specifically, the move is clear: that the production remains profitable in the juicy weekend of July 4, very important at the US box office. The difference with very popular extended versions such as those of Peter Jackson’s ‘The Lord of the Rings’ seen on DVD, is obvious. A24, in question. Although for a time A24 has been the pretty girl of the Holywood production companies for his ease in taking risks, for cultivating undervalued genres and for supporting directors with clear auteur visions (and still get blockbusters and sweep the Oscars), for a few months now his image has been questioned. To the open adoption of one totally pro-AI policy Now this very tricky marketing move is added. In a couple of years we will see if what today sounds like an extravagant maneuver becomes a standard tactic: launch “version 1.0”, wait for it to hit the box office, re-release a “complete vision” after a month and a half. Before the director’s cut It took months to arrive, now even those small islands of creative integrity have been subject to the extremely accelerated calendar set by social networks and the streaming. In Xataka | The most terrifying photo on the internet has no monster, no story and no one knows who took it: Backrooms comes to the cinema

Today on Prime Video, a disaster movie that lost 45 million in theaters but is sweeping streaming

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In January 2026, ‘Greenland 2‘ premiered at number six at the US box office and closed its run in theaters with 44.8 million dollars collected against a budget of 90. The numbers are incontestable: a tremendous failure. Five months later, the sequel starring Gerard Butler tops the most watched lists on HBO Max in the United States, and now lands in Spain in Prime Video. The story of this saga begins with a pandemic and a comet. The first ‘Greenland’ never reached American theaters: COVID-19 forced it to be transferred directly to video on demand in December of that year. In international cinemas it did have a theatrical release, and it worked very well, since the reviews were good despite it being a genre not very popular with specialists. But it was the perfect time for a film of this type. The sequel tried to ride that same wave, but it didn’t turn out so well, although it ended up finding its audience. The family protagonist of the first installment has been in an underground bunker in Greenland for five years after the impact of a comet, but a series of earthquakes destroys the shelter and forces them to evacuate. They will head towards the south of France, where a crater has generated a habitable microclimate, free of electromagnetic storms and radiation. A true epic in which they will have to test their courage, their resistance and their trust in the family unit. The trajectory of ‘Greenland 2’ has parallels with that of ‘Tomorrow’s War’, the science fiction thriller with Chris Pratt that Paramount gave to Prime Video during the pandemic. It passed without pain or glory in theaters, with barely 19 million dollars collected against a budget of 200 million, but it became one of the most viewed films of the year. streaming at that time and one of the first massive successes of the Amazon platform. New dynamics of exploitation, new unexpected successes, and yes, a common point: the destruction of the planet, better to see it comfortably at home. In Xataka | Premiere: Harlan Coben is the real King Midas of Netflix, and he has a new series to confirm it

Since 2019, Spanish movie theaters have not had so much attendance in a single weekend. The person responsible: Torrente

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‘Torrente Presidente’ arrived in theaters on March 13 without a trailer, without press passes and with a poster with a black background as the only promotional material. In 72 hours it raised close to 7 million euros: with one million viewers, it is the best start for a Spanish film in fifteen years. And these are the causes of the phenomenon. The figures. The first numbers of ‘Torrente Presidente’, before the weekend ended, were already overwhelming and predicted extraordinary success. Premiere on 1077 screens. 150,000 tickets sold in advance. 2.4 million euros and 300,000 spectators on Friday alone. At the end of the weekend, it had generated a total of 6.94 million euros, 70% of the national box office. Of course, it is the weekend with the highest attendance at cinemas since 2019, before the pandemic. The figure places the sixth installment of the saga as the fourth best premiere in the history of Spanish cinema, behind ‘The Impossible’ (€8.9M), ‘Torrente 4: Lethal Crisis’ (€8.6M) and ‘Torrente 3: The Protector’ (€7.21M). It is also the highest-grossing Spanish film of the year and the best debut of a Spanish production in the last eleven: no national film had reached that level of box office on its opening day since at least 2015. Unusual marketing. Segura opted for a launch strategy completely atypical: The film arrived in theaters without a trailer, without promotion and without prior press screenings, announcing itself only with a publication on social networks. The director has explained that his intention was that fans of the saga would be the first to enjoy it. Curiously, Segura has for decades been one of the most active Spanish directors in the promotion machine, continually appearing on television wearing t-shirts with the film’s title. Once ‘Torrente Presidente’ was released, it has already been seen on programs like ‘El Hormiguero’ and has begun to give interviews and give access to press passes. You know what you’re going for. Curiously, Torrente’s films do not stand out for their plot twists or spectacular surprises, but there is another secret to keep: the cameos. As could be seen when the film arrived in theaters, ‘Torrente Presidente’ is one of the densest films in the saga (if not the most) in terms of number of cameos and guest stars. That was what Segura did not want revealed, and that is why there are abundant articles on the internet that they gut this aspect of the movie. It is the great secret of the premiere, above its plot or its approach, where it rains in the wet. And now what. If in a film like this the surprise effect is important, word of mouth is even more important. From its second week onwards, Segura will adhere to the usual rules of the promotion (trailer, poster, pass, interviews) seeking to maintain the momentum. The first milestone that ‘Torrente Presidente’ has to overcome is the 22.1 million in revenue from ‘Torrente 2’, the most lucrative of the saga to date. At this rate, this second week could exceed the 14 million euros that the intermediate installments of the saga accumulated, amounts that the films of ‘Father there is only one‘. In Xataka | There are many people who hate Santiago Segura’s films. The problem is that they “save” Spanish cinema every year

The revenge film that revolutionized the international cinema scene returns to theaters for its anniversary

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Of course, Park Chan-wook’s masterpieceOld Boy‘ was not the first Korean film to attract the attention of viewers outside Asia. That same year we had had the fabulous rural thriller ‘Memories of Murder’, by the country’s other star director, Bong Joon Ho. And Park Chan-wook himself had shown the first film of his revenge trilogy, ‘Sympathy for Mr. Vengeance’, at international festivals a year earlier. But ‘Old Boy’ connected in a special way with Western viewers by raising a feeling that has been captured in millions of films of all origins, revengebut with the doses of extravagance and visual daring that we have always expected in Korean cinema since then. ‘Old Boy’ became almost a canonical film of the country, at least for foreign viewers and festivals, since there the commercial cinema that the majority of the population consumes, just like in Europe or the United States, is nothing like it. to this experiment artie but forceful. The convoluted plot of ‘Old Boy’ begins when a Korean businessman is kidnapped and confined for years in a cell where there is only a television. He doesn’t know why he is there and little by little we will witness his slow descent into madness. When he comes out, he will begin a meticulous process of revenge for those who have destroyed his life, violent and with a good amount of extreme revelations. We all remember from ‘Old Boy’ its magnificent scene shot in sequence, of a hallway full of enemies that the protagonist dispatches quickly and with the help of a hammer. It has been imitated in series seemingly as far removed from this film as ‘Daredevil’, demonstrating the extent to which the reach and influence of ‘Old Boy’ make it a unique icon of Korean cinema. Now, on the occasion of its twentieth anniversary, we can once again enjoy this film on the big screen, as it is re-released in theaters. In Xataka | Spectators and critics say it is the best science fiction film of recent times, but it was barely seen in theaters

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