The game was revealed in January 2017 as part of Nintendo's unveiling of the Nintendo Switch console, in the form of a teaser trailer featuring a destroyed office building and a number of demons.

(meta data) TITLE: Shin Megami Tensei is headed to Nintendo Switch - Polygon

These crawls are part of an effort to archive pages as they are created and archive the pages that they refer to.

That way, as the pages that are referenced are changed or taken from the web, a link to the version that was live when the page was written will be preserved.

Then the Internet Archive hopes that references to these archived pages will be put in place of a link that would be otherwise be broken, or a companion link to allow people to see what was originally intended by a page's authors.

The goal is to fix all broken links on the web.

Crawls of supported "No More 404" sites.

Collection: Wikipedia Near Real Time (from IRC)

This is a collection of web page captures from links added to, or changed on, Wikipedia pages.

The idea is to bring a reliability to Wikipedia outlinks so that if the pages referenced by Wikipedia articles are changed, or go away, a reader can permanently find what was originally referred to.

This is part of the Internet Archive's attempt to rid the web of broken links.

The Wayback Machine - https://web.archive.org/web/20171201081818/https://www.polygon.com/2017/1/12/14260976/shin-megami-tensei-nintendo-switch

# Shin Megami Tensei is headed to Nintendo Switch

Atlus is bringing a Shin Megami Tensei game to Nintendo Switch.

The developer brought a short teaser for a game in the popular role-playing game series to the Nintendo Switch unveiling event, streamed live from Japan this evening.

The role-playing game is currently in development, and it will use Unreal Engine 4, according to its debut trailer.

Atlus revealed no other details about when to expect the Shin Megami Tensei title to launch, although it will be the next entry in the beloved, long-running franchise.

Most recently, Shin Megami Tensei 4: Apocalypse launched on Nintendo 3DS.

Nintendo also collaborated with Atlus on Tokyo Mirage Sessions #FE for Wii U.

The well-received role-playing game, which launched last June, is a crossover between the worlds of Shin Megami Tensei and Fire Emblem.

The Nintendo Switch launches on March 3 and will cost $299, the company revealed at the top of its live event.

Want the latest news, videos and podcasts sent to your inbox once every weekday?

Then sign up for the Polygon Newsletter below.

Doomsday Clock #1 review: A brave new world

Star Wars Battlefront 2's loot crate controversy

Fallout board game celebrates the series' excellent storytelling

Bethesda and Fantasy Flight are on a roll

Check out Destiny 2: Curse of Osiris' new armor and weapons

And clear some hard drive space while you're at it

(meta data) TITLE: Nintendo Switch's Shin Megami Tensei Revealed As SMT 5 In New Trailer - GameSpot

A daily crawl of more than 200,000 home pages of news sites, including the pages linked from those home pages.

# Nintendo Switch's Shin Megami Tensei Revealed As SMT 5 In New Trailer

## Atlus brings the next main entry in the Mega Ten series exclusively to Switch.

### Last updated by Chris Pereira on October 23, 2017 at 8:42AM

Shin Megami Tensei 5 - Reveal Trailer (Japanese)Black Mirror Season 4 USS Callister Breakdown And

Easter Eggs!GameSpot's Worst Reviewed Games Of 2017Destiny 2 Xur Last Day of 2017Let's Play Resident Evil 7 Part 8 - Resident KinevilBlack Mirror Season 4 Black Museum Breakdown And Easter Eggs!Black Mirror Season 4 Hang The DJ Breakdown And Easter Eggs!Black Mirror Season 4 Crocodile Breakdown And Easter Eggs!Black Mirror Season 4 Metalhead Breakdown And Easter Eggs!Black Mirror Season 4 Arkangel Breakdown And

Easter Eggs!GameSpot Universe's Top 10 Netflix Originals Of 2017GameSpot Universe's 10 Worst Movies Of 20179 Biggest Gaming Hardware Launches in 2017

Please use a html5 video capable browser to watch videos.

00:00:00Sorry, but you can't access this content!

##### Please enter your date of birth to view this video

By clicking 'enter', you agree to GameSpot's

Now Playing: Shin Megami Tensei 5 - Reveal Trailer (Japanese)

Want the latest gaming news as it breaks?

All the highlights in the world of games, lovingly delivered 2-3 times/week.

Prior to the system's release, Atlus confirmed that it was working on a new Shin Megami Tensei game for Nintendo Switch.

Now, we've gotten a new trailer for it and confirmation that this is the next full-fledged entry in the series: Shin Megami Tensei V.

Atlus shared the news during a recent livestream, though we're still in the dark regarding many of the specifics.

The video shows that the game will at least partially take place in modern-day Tokyo.

We see two characters walk through what looks like a normal train station before the video transitions to a tunnel filled with slain demons.

Finally, there's a scene in a post-apocalyptic city as flying creatures swoop in and attack those same two characters.

When it was first revealed, a trailer for SMT V--known at the time as Shin Megami Tensei: Brand New Title--showed off a destroyed office building and some familiar-looking demons.

Like that one, this trailer is entirely in Japanese.

Atlus has not yet confirmed an international release for the game.

Given that recent Shin Megami Tensei games have been localized for western markets, a localization seems likely.

There might be a wait for such a version, but given that Switch is region-free, you can always opt to play the Japanese version as soon as it's available.

A release date for SMT V has not yet been announced, and there's no indication that it will come to any platform besides Switch.

There is, however, a new 3DS game on the way called Shin Megami Tensei: Deep Strange Journey, which is an updated version of an earlier game.

Got a news tip or want to contact us directly? Email news@gamespot.com

"Shin Megami Tensei V" is being developed by Atlus, and is produced by Kazuyuki Yamai, who previously directed "Shin Megami Tensei IV". One of the development team's goals with the game is to depict and sympathize with the "characteristics of the times", such as unemployment, unease about retirement, terrorism and nuclear weapons, and problems at home. The game is developed as a hybrid between the "profound charm" of "Shin Megami Tensei: Nocturne" and the demon-raising gameplay in "Shin Megami Tensei IV". Development is done using the game engine Unreal Engine 4, and is Atlus's first game developed with it; according to Yamai, this changed the way they create games, as the ability to create something and immediately see it within the game allows them to spend more time on trial and error and coming up with ideas. The decision to develop the game for the Nintendo Switch was made as Yamai liked its portability combined with its capability for HD games, although there were some challenges involved since "Shin Megami Tensei V" is Atlus's first game developed for the platform. The higher hardware capabilities of the Nintendo Switch meant that the demons in the game are developed to match, and take approximately three times as long to develop compared to demons in previous "Shin Megami Tensei" games for older platforms.


The second half began on June 11, 2016, and the series ended July 23, 2016.

(meta data) TITLE: Blogs - Hell on Wheels - AMC Sets Premiere Date for the Final 7 Episodes of Hell on Wheels and New Event Series The American West - AMC

### AMC - Latest full episodes and extras

This browser is supported only in Windows 10 and above.

Watch the latest full episodes of AMC shows.

Watch ad-free and unlock content with amc premiere

You are currently signed in with your TV Provider.

Sign in to watch free episodes or with AMC Premiere.

## AMC Sets Premiere Date for the Final 7 Episodes of Hell on Wheels and New Event Series The American West

Get ready for some "wild West" weekends this summer.

AMC announced today that the final seven episodes of Hell on Wheels will begin airing Saturday, June 11, followed by the premiere of the new Robert Redford-produced limited event series The American West.

The final season of Hell on Wheels draws toward the end of the line for Cullen Bohannon (Anson Mount) and his work on America's first transcontinental railroad.

The final push to finish brings with it a reckoning for Bohannon and the men standing in his path: the bloodthirsty Swede (Christopher Heyerdahl); the mercenary Chang (Byron Mann); and the rapacious Thomas Durant (Colm Meaney).

Bohannon contends with corruption, greed and murder as he leads the trek to complete the final stages of the building of the railroad from the Central Pacific through the Sierras and across the Utah desert to Promontory Point.

While the railroad's completion is certain, who and what will survive when the golden spike is finally planted remains in question — with no one more at risk than Cullen Bohannon.

Hell on Wheels is executive-produced by showrunner John Wirth, Paul Kurta, Michael Rosenberg, Jeremy Gold, EVP Creative Affairs, for Endemol Shine Studios and Mike Frislev and Chad Oakes from Nomadic Pictures.

The series also stars Robin McLeavy, Phil Burke, Jennifer Ferrin, Dohn Norwood, Tim Guinee, Reg Rogers and Angela Zhou.

The American West spans the years 1865 to 1890 and shows how — in the aftermath of the Civil War — the United States transforms into the "land of opportunity."

Viewers will be transported into the violent world of cowboys, Indians, outlaws and law men.

The eight-episode limited event series chronicles the personal, little-known stories of Western legends such as Jesse James, Billy the Kid, Wyatt Earp, Crazy Horse and Sitting Bull.

The series is executive-produced by Robert Redford, Stephen David (The Making of the Mob: New York, The Men Who Built America) and Laura Michalchyshyn with Sundance Productions, and it features exclusive interviews with notable names from classic Western films, including Redford, James Caan, Burt Reynolds, Tom Selleck, Kiefer Sutherland, Mark Harmon, Ed Harris and more.

Hell on Wheels premieres Saturday, June 11 at 9/8c on AMC, followed by The American West at 10/9c.

Watch a new trailer for both shows on AMC.com and sign up for more Hell on Wheels exclusives with the Insiders Club.

#### See How Cullen's Journey Ends in the Series Finale

#### Hell on Wheels Q&A – John Wirth (Showrunner)

#### Hell on Wheels Q&A — Robin McLeavy (Eva)

#### Hell on Wheels Q&A — Angela Zhou (Mei)

## Choose your provider to watch Live TV & Full Episodes

To watch full episodes, you must have a cable provider that supports AMC's full episode service and you must have AMC as part of your cable package.

Sign up to get alerts on the latest news of your favorite AMC shows.

Last step - Add your e-mail to complete your account.

By proceeding I understand and agree to AMC's privacy policy, cookies policy, and terms of use.

Are you sure you want to deactivate your account?

You will no longer have access to your profile.

A verification email has been sent, please verify your account to post comments.

An email has been sent with instructions for resetting your password.

If you do not see it in your inbox, please check your junk or spam folder.

Please enter the email address associated with your account, and we'll send you an email with instructions on how to reset your password.

{| existing_displayName |} - {| existing_provider |} : {| existing_siteName |} {| existing_createdDate |}

Created {| existing_createdDate |} at {| existing_siteName |}

{| createRadioText |} {| current_provider |}

#### To watch AMC shows or upgrade to AMC Premiere, sign in with your provider.

Check your email for link to verify your account.

We've sent an email with instructions to create a new password.

Your existing password has not been changed.

We didn't recognize that password reset code.

Enter your email address to get a new one.

#### Please sign in with one of the following to post comments.

#### Please enter your e-mail and password.

Thank you for verifiying your email address.

You must verify your account in order to post comments.

Please enter your email address and you'll receive a verification link to proceed.

"Hell on Wheels" is an American dramatic television series created and produced by Joe and Tony Gayton. The series was broadcast in the United States and Canada on the cable channel AMC and premiered on November 6, 2011. Set in the 1860s at the end of the United States Civil War, the series starred Anson Mount as Cullen Bohannon, a former Confederate soldier determined to exact revenge on the Union soldiers who murdered his wife. His quest for vengeance sent him westward to Nebraska's "Hell on Wheels", the lawless town that moved with the construction of the first transcontinental railroad. However, things got complicated when Cheyenne and Sioux tribes attack the construction of the railroad, bent on destroying the project because it is being built through their lands.
 On November 7, 2014, AMC renewed the series for a fifth and final season of fourteen episodes. The final season was split into two parts, with seven episodes airing in the summers of 2015 and 2016 respectively. The fifth season premiered on July 18, 2015.


The Gallery has a collection of over 6,000 Australian and International items including works on paper, paintings, decorative arts and sculpture.

(meta data) TITLE: Geelong Gallery | Collection | Geelong Gallery

Portraits in the Geelong Gallery collectionPhotographer: Andrew Curtis

Eugène von Guérard in the Geelong Gallery collection Photographer: Andrew Curtis

Established in 1896, the Geelong Gallery is one of Australia's leading and oldest regional art galleries.

The Gallery's significant collection of over 6,000 works includes Australian and international paintings, works on paper, sculpture and decorative arts.

The Gallery is home to a number of iconic Australian paintings including Eugène von Guérard's Aborigines met on the road to the diggings (1854), The Weatherboard Falls (1863) and View of Geelong (1856), Louis Buvelot's On the Woods Point Road (1872), Frederick McCubbin's A bush burial (1890) and Russell Drysdale's Hill End (1948).

The greatest strengths of the Gallery's permanent collection are colonial paintings, including a splendid array of early images of Geelong and its wider region such as John Skinner Prout's lithograph Geelong (1847), and Alexander Webb's Yarra Street, Geelong (1872); colonial metalwork including Edward Fischer's Geelong gold cup (1890); English painted porcelain from 1750 to 1850, Worcester, Buckingham Palace card tray (c. 1840–45); works on paper (19th century to the present); and modern and contemporary Australian paintings, sculpture and decorative arts including works by Fred Williams, Ann Thomson, Peter Booth, Juan Davila, Rosalie Gascoigne, Jan Senbergs and John Brack.

Frederick McCUBBINA bush burial 1890oil on canvasPurchased by public subscription, 1900

Grace COSSINGTON SMITHTree trunk 1930oil on composition boardJH McPhillimy, EA Austin and HP Douglass Bequest Funds, 1970

Juan FORDPainting, phrenology (Abstraction) 2004 oil on canvas Fletcher Jones art prize (winner), 2004

Polixeni PAPAPETROU Olympia as Lewis Carroll's Xie Kitchin as a Chinaman (off duty) 2003 type C print; edition 1/6 Sybil Craig Bequest Fund, 2003Reproduced courtesy of the Estate of Polixeni Papapetrou

Arthur STREETONOcean blue, Lorne 1921oil on canvasPurchased with funds generously provided by Geelong Art Gallery Foundation, Robert Salzer Foundation Art Program, Geelong Community Foundation, Will & Dorothy Bailey Charitable Gift and numerous individual donors, 2011

Sally SMART Mad house (history painting) no. 1 1989 oil and enamel on canvasPurchased with funds generously provided by the Geelong Art Gallery Foundation, 1989

Eugene von GUERARD View of Geelong 1856oil on

canvasPurchased through the Geelong Art Gallery Foundation with the generous support of the Victorian Government, the Australian Government, the City of Greater Geelong and numerous community and other donors, 2006

Sydney BALLCanzon nama 1967synthetic polymer paint on canvasCorio 5 Star Whisky prize, 1967Reproduced courtesy of the Estate of Sydney Ball

Stephen BOWERS Red-tailed Black Cockatoo 2010

hand-painted and lustred earthenware Purchased with funds generously provided by the Yulgibar Foundation, 2011

Paul RYANWild colonial boys 2012oil on canvas, dyptichGeelong contemporary art prize (winner), 2012

Stanhope FORBES The pier head 1910 oil on canvas Purchased 1912

Dorrit BLACKCaravan camp c. 1945watercolourPurchased 1979

Edward FISCHERGeelong gold cup 1890gold and ebonised wood (designed by Fred WOODHOUSE)Purchased through the Dorothy McAllister Bequest Fund with the assistance of the Geelong Racing Club, 1996

Russell DRYSDALEHill End 1948oil on composition boardJH McPhillimy and HP Douglass Bequest Funds, 1952

Johannes DUNTZE A fjord in Norway 1887 oil on canvas Gift of GM Hitchcock, 1900

Susie COOPERVase 1930sglazed stonewareGift of Dr HD Chamberlain, 1993

Chokosai EISHOBeautiful courtesan with flower fan 1790shand-coloured woodblock with mica (published by Yamaguchi-ya Chusuke)Gift of Sir Thomas Maltby, 1964

Tim JONES Woods with pit 2000woodcut; edition 20/35Geelong print prize, 2001© Tim Jones

William FRITHThe railway station 1866engraving (engraved by Francis Holl; printed by R Holdgate; published by Henry Graves & Co.) Gift of Mrs ED Keighley, 1965

Edwin LONGThe Babylonian maid 1883 oil on canvasGift of JH McPhillimy, 1935

Max DUPAINEastern Beach, Geelong 1946/1999black and white photograph; edition 11/90 Sybil Craig Bequest Fund, 1999

Robert DOWLINGMrs Margaret McArthur of Meningoort 1856-57oil on canvasCollection: Geelong GalleryPurchased with the generous assistance of the Trustees of the Howard Hitchcock Bequest, and with additional support from the Friends of the Geelong Gallery, 2001

Augustine DALL'AVAIf only Carl knew #19 1990painted and natural wood, steel, stainless steel, granite, painted and unpainted stoneGift of the artist, 2007Reproduced courtesy of the artist

Charles BUSH Last light over Lorne 1970s oil on canvasPurchased with funds generously provided by the Geelong Art Gallery Foundation, 2010

## Stay in touch with all the latest from Geelong Gallery.


The 2018 ACC Emerging Teams Asia Cup was a cricket tournament held in Pakistan and Sri Lanka.

(meta data) TITLE: ACC Emerging Teams Asia Cup 2018

Karachi, Pakistan and Colombo, Sri Lanka

Group A: Sri Lanka, Afghanistan, India, Oman Group B: Pakistan, Bangladesh, Hong Kong, United Arab Emirates

PAKISTAN TO PLAY HONG KONG IN EMERGING TEAMS ASIA CUP OPENER ON DEC 6SRI LANKA TO CO-HOST EMERGING TEAMS ASIA CUP 2018 WITH PAKISTAN

Reports:15 Dec:SRI LANKA BEAT INDIA IN THRILLER TO WIN EMERGING TEAMS ASIA CUP 201813 Dec:

SRI LANKA, INDIA QUALIFY FOR EMERGING TEAMS ASIA CUP FINAL10

INDIA TOP GROUP A WHILE AFGHANISTAN CLAIM CONSOLATION WIN9 Dec:

BANGLADESH U23 STUN PAKISTAN IN EMERGING TEAMS ASIA CUPUAE, HK EMERGING TEAMS ASIA CUP MATCH RAINED OUT8

Dec:SRI LANKA, INDIA QUALIFY FOR THE SEMI-FINALS7 Dec:SRI LANKA, INDIA OFF TO PERFECT STARTS IN 3RD EMERGING TEAMS ASIA CUPBANGLADESH GET 28 RUNS WIN OVER HONG KONG IN EMERGING TEAMS ASIA CUPPAKISTAN U23 OUTSCORE UAE TO GET NINE WICKET WIN6

Dec:ILYAS STEERS PAKISTAN TO A BIG WIN IN EMERGING TEAMS ASIA CUP OPENERUAE RING WARNING BELLS, BEAT BANGLADESH IN EMERGING TEAMS ASIA CUP

Matches start at 0930 (Karachi) and 0945 (Colombo) local time

Pakistan vs Hong Kong at NSK, Karachi Bangladesh vs UAE at SG, Karachi

Sri Lanka vs Oman at RPICS, Colombo India vs Afghanistan at CCC, Colombo Pakistan vs UAE at NSK, Karachi Bangladesh vs Hong Kong at SG, Karachi

Sri Lanka vs Afghanistan at CCC, Colombo India vs Oman at RPICS, Colombo

Pakistan vs Bangladesh at NSK, Karachi UAE vs Hong Kong at SG, Karachi

Sri Lanka vs India at RPICS, Colombo Afghanistan vs Oman at CCC, Colombo

SF1: Bangladesh v Sri Lanka at RPICS, Colombo SF2: India v Pakistan at CCC, Colombo

FINAL: Sri Lanka v India at RPICS, Colombo


However, after making $12 million on its first day (including $2.66 million from Thursday night previews), weekend projections were lowered to $30 million.

(meta data) TITLE: Tom Cruise Pic 'The Mummy' Stepped On By 'Wonder Woman': Weekend Box Office | Deadline

(meta data) AUTHOR: Anthony D'Alessandro

Focused crawls are collections of frequently-updated webcrawl data from narrow (as opposed to broad or wide) web crawls, often focused on a single domain or subdomain.

The Wayback Machine - https://web.archive.org/web/20170614233356/http://deadline.com/2017/06/wonder-woman-beats-tom-cruise-mummy-at-the-box-office-1202110164/

You will be redirected back to your article in seconds

## DeadlineBox OfficeWhy 'The Mummy' Turned Crummy At The Domestic B.O. & W

Fox Sets 'X-Men: Dark Phoenix' For 2018; Kinberg Directing

### Bart & Fleming: 'The Mummy's Franchise Fail & Moreby by Anthony D'Alessandro

### Free Theaters Feel Heat From 'Julius Caesar' Flamesby by Anthony D'Alessandro

### MGM Sets 'Every Day' YA Book To Star Angourie Riceby by Anthony D'Alessandro

### 'This Is Us': Dan Fogelman – The Deadline Emmy Q&Aby by Anthony D'Alessandro

# Why 'The Mummy' Turned Crummy At The Domestic B.O. & What This Means For Uni's 'Dark Universe'

Updated overall analysis No amount of marketing stunts, from a 75-foot sarcophagus to two VR experiences, could create any want-to-see for Tom Cruise's latest movie, Universal's The Mummy, which tanked stateside this weekend with an estimated $32.2M.

Cruise's pic takes second place behind Warner Bros/DC's Wonder Woman, which will own the top spot for a second consecutive weekend with $57.2M, -45% and with a running cume of $205M by Sunday.

For the most recent weekend analysis of the box office as of Sunday, click here.

'Wonder Woman' Soars On Saturday; 'Mummy' Still Crummy - Late Night B.O. Update

While we've pointed out recently how Rotten Tomatoes has been denting popcorn pics' ticket sales, The Mummy is detested by both critics (at 18% Rotten) and audiences alike, with a B- CinemaScore and 70% total positive score from Screen Engine/ComScore's PostTrak.

This isn't a scenario where a popcorn pic was beloved by audiences and critics killed its chances at the domestic box office.

That latter number is even lower than the 76% earned by Paramount's Baywatch.

Though men at 54% were the majority at The Mummy to females' 46%, per PostTrak, they loathed it more than the ladies, 64% to 77%.

On CinemaScore, 30% over 50 gave Mummy a C+, while 68% over 25 gave it a B-.

By comparison, Cruise's Oblivion, also from Uni, earned a B- CinemaScore, opened to $37M and fell short of $100M with a final $89.1M stateside.

Mummy's weekend is the lowest domestic opening in the Universal Mummy series when compared to the Brendon Fraser trilogy and even lower than the Dwayne Johnson spinoff The Scorpion King ($36M).

Even with Cruise hitting his best global opening with $174M here, there's a question whether Mummy will leg out abroad and break even given the competition in coming weeks.

Industry estimates (not Universal's) have Mummy's combined P&A and production costs ranging between $335M-$370M. On top of that, some industry sources say that Mummy's $142M start abroad has a lot to do with its massive day-and-date release pattern in 63 territories more than anything else.

True, broken popcorn fare has a much better chance at succeeding abroad given the burgeoning cinematic markets, especially in China.

Just look at last year's Independence Day: Resurgence which cost an estimated $165M before P&A, and generated 74% of its $390M worldwide.

Some like to point out that Mummy's failure stems from being an antiquated property paired with an antiquated star, but if you remember, it wasn't that long ago that both audiences (A-) and critics (93% certified fresh) were having a blast at another aging Cruise franchise, Mission: Impossible – Rogue Nation, which opened to $55.5M and held the top spot for two weeks in a row, becoming the second-highest title in the M:I series with $195M domestic.

In addition, per CinemaScore, 40% bought tickets because of Cruise, a respectable number for a star.

There are myriad reasons why Mummy isn't connecting stateside, but as critics and moviegoers concur – it's just a really bad, messy movie which can't decide which direction to take, with a complex mythology around a female mummy's soul trapped in Cruise's body.

The Mummy should also serve as a warning sign to other major studios: Here's another example of what can go severely wrong when there's so much emphasis put on a movie to launch a franchise, in this case Universal's monster Dark Universe.

Warner Bros. nearly ran into this problem with Fantastic Beasts and Where to Find Them back in October when they ambitiously announced a month before release that the Harry Potter spinoff series would span five titles.

Fantastic Beasts put up the lowest opening of any Potter universe title ($74.4M) but wound up being profitable at the end of the day.

When Marvel was adapting Iron Man, Captain America and Thor to the big screen, a franchise organically took place and eventually yielded The Avengers.

That's the approach Universal should have taken with Dark Universe: just let it happen naturally.

Now Dark Universe is off to a cockeyed start.

Uni swears that one title isn't integral to the next, nor should Mummy serve as an indicator for the quality of Bill Condon's Bride of Frankenstein and other titles.

But Mummy arguably blemishes a new brand that Universal is seeking to establish, and the last thing the studio needs is for that Dark Universe logo to scare off audiences.

Mummy's fate stateside just puts more stress on Bride of Frankenstein to deliver.

Much like there was a significant amount of strain at Warner Bros. to bring The Legend of King Arthur to the screen, so there was at Uni to reboot their monster movies and Mummy.

Before blockbuster scribe Alex Kurtzman was selected to direct his first tentpole here (following the disastrous drama People Like Us at $12.4M), Mummy had been passed over by directors Len Wiseman and Andres Muschietti.

Wiseman backed out due to scheduling, while Muschietti left due to creative differences, though word is the Jon Spaits script he was working from was much bolder.

Muschietti was originally pursued due to his riveting horror film Mama, which earned $146.4M worldwide off a $15M budget.

Many believe he made the right choice moving off Mummy and taking on Stephen King's It for New Line, which is already generating excitement (the online trailer earned close to 200M views in its first 24 hours).

Muschietti left Mummy in May 2014 a matter of days after Kurtzman and his Transformers/Star Trek partner Roberto Orci parted ways to work on separate projects.

The duo were originally brought to Uni in May 2012 under a two-year production deal.

By July 2014, Kurtzman was paired with Fast and Furious scribe Chris Morgan to be the architects of the Dark Universe narrative.

Amid Mummy's bombing, industry executives are clearly juxtaposing that creative combo to the previous pizzazz of Kurtzman/Orci.

Deadline hears that Mummy was a problematic shoot, with Cruise in the end trying to save the movie in the editing room.

Some even think that Kurtzman bit off more than he could chew in tackling The Mummy as director.

Cruise brought on his Rogue Nation director/scribe Christopher McQuarrie to take a stab at the script.

In the end, we're left with a mishmash of dull action scenes, sans that singular, vibrant auteur's vision that Jordan Peele brought to Uni/Blumhouse's Get Out.

A studio such as Universal, which reaped a fortune from rebooting a classic movie like Jurassic Park with Jurassic World, should know better.

Why lose what everybody loved about the older Mummys?

Social media analyst RelishMix observes that social chatter has fans with "fond memories of Brendan Fraser's series of films" and reviewers fondly recall the campiness of those pics, gone now for a dark, broody, monotonous tone.

Heading into the weekend, RelishMix noticed that The Mummy "had mixed conversation to be sure…Some moviegoers don't believe Cruise in this role, and conversation along these lines suggests a certain amount of wear-out related to the actor in these super-action roles."

Also coming in lower than the industry expected especially after its glowing reviews at 86% fresh is A24's It Comes at Night which is opening to $6M.

Some believed it had slightly better prospects between $8M-$10M.

Typically with these low budget horror movies, and this one was only $5M before P&A, there's a heavy degree of social and digital marketing.

But RelishMix noticed that the movie is impaired by a cast which isn't widely active on social with "less than 300K social media followers, which is light for a film opening during the competitive summer season."

Furthermore the current conversation among horror fans for It Comes at Night is "dubious at best," says Relish Mix, "They are tired of the zombie film, and the 'stuck in a house' element."

Those who've seen the Trey Edward Shults film give it a big D CinemaScore, a complete knife in the back to this pic's longevity.

While PG-13 horror films pull in young girls, this one is rated R, so guys at 53% are the majority.

Those over 25 at 56% gave It Comes at Night a D, while over 50 at 12% had zero patience for the movie, slamming it with a F.

Bleecker Street's war drama Megan Leavey with 79% fresh from 27 reviews and an A CinemaScore is doing better than expected with $3.8M at 1,956 theaters, however, for a wide release that's still very low.

Whenever you see an indie go wide like this versus a platform, it typically means the distributor has a certain amount of financial skin in the game, meaning that they have but no choice but to go wide, and make as much as they can theatrically so they can quickly segue to home entertainment.

That versus a platform release which is much more of an investment over a longer period, and may not pan out successfully for a movie in the long run.

Bleecker acquired the movie back in January from Liddel Entertainment.

For Sunday morning's weekend analysis, click here.

Previous box updates for the weekend of June 9-11.

2.). The Mummy (Uni), 4.035 theaters / $12M Fri. (includes $2.66M) /3-day cume: $30.5M/Wk 1

4.). Pirates Of The Caribbean: Dead Men Tell No Tales (DIS), 3,679 theaters (-597) / $2.97 M Fri. (-53%)/3-day cume: $10.4M (-53%)/Total:$135.5M/ Wk 3

5.). It Comes at Night (A24), 2,533 theaters / $2.4M Fri. (includes $700 previews) /3-day cume: $6.2M/

8.). Megan Leavey (BST), 1,956 theaters / $1.2M Fri /3-day cume: $3.8M / Wk 1

11.). My Cousin Rachel (FSL), 523 theaters / $278K Fri. /3-day cume: $981k / Wk 1

Beatriz at Dinner (RSA), 5 theaters / $42K Fri. /PTA: $27,2k/3-day cume: $136k / Wk 1

Universal's The Mummy is looking pretty dingy at the domestic box office with an opening between $29.6 million-$32 million at 4,034 theaters, off a first day that's between $11.5M-$12.5M. Last night's previews of $2.66M are rolled into today's ticket sales.

This is a horrible domestic start for Universal's Dark Universe monster franchise, with The Mummy on track to be the lowest opening among the studio's previous Mummy pics and spinoffs, i.e., The Mummy 1999's $43.3M opening, The Mummy Returns' $68.1M, The Mummy: Tomb Of The Dragon Emperor's $40.4M and even below the Dwayne Johnson spinoff The Scorpion King which opened to $36M.

Per one rival marketing executive on The Mummy's cursed outcome, "Nobody wanted to see Tom Cruise in this movie."

And we've heard that The Mummy in its production cost is substantially higher than the $125M-$130M reported before P&A; it's more in the $195M vicinity.

This puts the Cruise movie in second place behind Warner Bros/DC's Wonder Woman, which will hold No. 1 with $48.5M-$51M in its second weekend at 4,165, an average ease of 52%.

If these figures hold up on the high end, Wonder Woman will stand at $198.9M by EOD Sunday.

20th Century Fox/DreamWorks Animation's Captain Underpants will take third with $4M today and $13.3M in weekend two at 3,529, -44% for a 10-day gross of $45.6M.

Disney's Pirates of the Caribbean: Dead Men Tell No Tales will take fourth with an estimated $3.2M today, and $11.1M in its third outing, -49% for a running stateside total of $136.3M.

Newcomer It Comes at Night from A24 will slot fifth with $3.7M today, and an opening of $9.1M at 2,533 locations.

Bleecker Street's Megan Leavey at 1,956 is looking at $800K-$1.1M today and $2.5M-$3.2M in its debut.

Again, all these figures could sway up or down by evening.

Universal's The Mummy drew $2.66M in previews last night at 3,015 venues, a figure that's 34% less than the $4M Tom Cruise's summer hit Mission: Impossible – Rogue Nation grossed on its preview night two years at 2,674 locations.

Film reviewers have trashed The Mummy putting its Rotten Tomatoes score at 20% Rotten, and thus greatly impacting the pic's domestic weekend results which could be as low as $32M according to some tracking services (that's under the $35M-$42M we originally saw).

Universal has a lot of skin riding on The Mummy as its the first title in their revamped monster Dark Universe series, and this is not an excellent start by any means.

Some say the reported net production cost for Mummy is between $125M-$130M, while other finance sources say it's closer to $195M.

If there's any hope of breakeven here, it will boil down to overseas for the Alex Kurtzman-directed film.

At the same time, The Mummy's Thursday night is higher than Jack Reacher: Never Go Back ($1.325M at 2,850 venues), The Edge of Tomorrow ($1.8M) and Universal's Oblivion which grossed $1.1M from midnight shows.

But if you want to know where the majority of America's moviegoers were yesterday, they were watching Warner Bros./DC's Wonder Woman which took in an estimated $9.2M, only 2% down from Wednesday's take.

Current running cume stands at $147.8M, and should Wonder Woman on the low end make $52.2M in her second weekend (it could be as high $60M), she'll easily clock past the two century mark at the B.O.

Also this weekend, A24 is opening their horror title It Comes at Night in 2,500 theaters.

It made $700K last night at 2,000 theaters.

The movie has been greatly embraced by critics at 85% certified fresh and could potentially hit $10M.

The movie directed by Trey Edward Shults was financed by A24 for a cost of $5M.

Bleecker Street has the Kate Mara war drama Megan Leavey which industry estimates figure will gross $2M at 1,944 locations.

The Gabriela Cowperthwaite-directed title currently has a 78% Rotten Tomatoes fresh score.

Subscribe to Deadline Breaking News Alerts and keep your inbox happy

Comments On Deadline Hollywood are monitored.

So don't go off topic, don't impersonate anyone, and don't get your facts wrong.

Fill in your details below or click an icon to log in:

You are commenting using your WordPress.com account.

You are commenting using your Twitter account.

You are commenting using your Facebook account.

You are commenting using your Google+ account.

i think everyone knows that mummy is not going to do well in states but tom cruise has enough star power to ensure it will atleast make some money globally

a bit of an embarrassment for Universal.

Feels like a big money grab in the vein of The Huntsman – where there is no script or idea so they just sign some stars and throw a lot of Viz Effects, and money, at the screen.

They may win the battle but will lose the war in the long run.

Overall, there whole plan for the Dark Universe feels way dated.

Do younger audiences really care about these titles, let alone Cruise, Depp and Crowe?

Don't movies like GET OUT teach them anything?

They were desperate for their own AVENGERS and these were the only IPs in the library they could come up with.

And hey, rebooting THE MUMMY as big-budget action worked before, so

I'm puzzled as to why the studio didn't go with a continuation of their already popular Mummy franchise.

I didn't care for that franchise myself — too cheesy IMO — but it did have a large fan base likely would have shown up even after all this time.

Tom Cruise's character could have been a modern descendant of Brendan Fraser's character.

That would have hooked in the former fans and maybe ensured a better first weekend.

It's monsters and witchcraft and tuff so you could have even brought Brendan Frazier in as having been frozen by another monster, reintroducing Fraziers character and another monster.

The truth is that they could still do that in another film.

Elleinto & Jenn, 'Dark Uni' should hire you.

Yes they should have gone with newer talent and brought Fraser back for cameo and kept the camp.

Cruise is great in M:I and other pics but I have no idea it was to to place him in this & pay his likely $20 mil + backend (probably non-existent now) for this.

And I don't see why he took it, he's got more $$$ than Ft. Know and his profile ain't dead yet with M:I still surviving.

Johnny Depp Fan • on Jun 9, 2017 5:29 pm

Depp is hugely popular among younger audiences.

His tag on Instagram currently has 1,529,313 posts, which I believe makes him the most popular actor on the youthful platform.

Clearly people would rather look at Johnny Depp on Instagram and Gal Gadot in movie theaters.

Selena Gomez is about the most popular celeb on social media but no one goes to her movies.

One doesn't necessarily translate to the other.

Also, we are learning, as in the case of Katy Perry and others, that up to half of those followers are fake.

Anyway, where were those followers for Depp when it came to Mortdecai, Dark Shadows, Alice 2, Transcendence, The Tourist, Rum Diaries, etc.?

IMO, the same people that are claiming that Johnny Depp has not turned into a total cliché") are the haters against WW, and frankly, are the same people that think that the "DARK Universe" is a great concept, where a man with scars is a villain

, frankly, WHO ON EARTH thinks calling someone with a congenital condition a monster is a good idea?

I'm not a writer, but I know too many studios have forgotten this in search of blockbusters.

It means nothing if you don't care about the characters.

After the failure of King Arthur & the Mummy, hopefully studios will stop believing the can create success by sticking a generic action movie around a known brand.

There is no fresher talent that is at the calibre of Crowe and Depp.

But I think its not the stars – Hemsworth and Blunt play to a younger crowd, but can't seem to sell.

Cruise sells but more overseas depending on the project.

But its like none of them are acting anymore, only REacting to some green screen and 90% of the movie is cooked up in some VixFX work station.

And you can only watch so much of that before they should just start billing it as an animated movie.

I doubt Wonder Woman would outgross Pirates globally though.

Not everyone in the world are Superhero fans.

Just like when Doctor Strange failed to outgross Fantastic Beasts globally.

POC5 is doing very well in the Foreign box office for some reason.

It's pulled in almost three times as much foreign versus domestic, which is probably important as studios only keep a third of the foreign take anyway once the distributors and theaters themselves get a take.

I'm sure the fact that Fantastic Beasts showed in IMAX theaters twice as long as Doctor Strange got to had something to do with that.

Did that little detail slip your mind on purpose or on accident?

Did you forget that Harry Potter is a foreign property to start with, and has already made a billion worldwide.

I should hope a spinoff would outgross the introduction of an obscure new comic book character.

DRACULA UNTOLD in 2014 had a final score of 23% on Rotten Tomatoes.

Final worldwide box office was $217 million.

Well, it's a big hit overseas – in fact it's Tom Cruise's biggest international opening.

Quite frankly, it lost some of its business to the juggernaut Wonder Woman that it would otherwise have gotten in a less crowded field.

Most of Tom Cruise's movies didn't open on the same day worldwide.

So, it's an apples to oranges comparison.

Bank on this: Mummy will not make more than 450 million worldwide.

No need to over-think it, Tom Cruise in a Mummy reboot is just a bad idea.

It was a bad idea from the moment anyone heard of it.

He'll do anything that feels 'franchise' and just keep swinging away.

Hard working fella, but he can't go a week without being on a movie set as the 'star' or god forbid, home alone for a week binge watching The Leftovers.

Millennial Griffith • on Jun 9, 2017 1:58 pm

I would have gone to see the movie if Tom Cruise actually *played* the Mummy.

I thought the point of the Universal monster universe was that you were going to have big stars in the title roles.

The only reason any remembers the original Carl Laemmle production is because Boris Karloff played the title role.

The monster needs to be the most important character on screen, not Tom Cruise as an umpteenth Ethan Hunt knockoff.

So you think audiences want a major star to play The Creature from the Black Lagoon?

I really doubt the reason the film is tanking is because Cruise isn't the Mummy.

I would love to see a new Creature From The Black Lagoon movie.

Much better idea than The Mummy or another Dracula movie

Universal must now be reconsidering whether to go forward with THE MUMMY MOMMY and LOOK WHO'S MUMMY NOW?

Brendan Fraser's Ghost • on Jun 10, 2017 9:14 am

OK, I'll Jump In • on Jun 10, 2017 3:37 pm

Paramount is developing Mummy Impossible with Universal.

Why would he punish himself by watching Leftovers?

In fact, when it was announced he was in talks to star in the reboot, I said, "There is no way Tom Cruise is doing this."

I went on the record and had to eat crow.

I don't know what he is thinking between this and Top Gun: Maverick…he's ruining his legacy.

I used to say, "Tom Cruise doesn't make bad films," but his last two have been TERRIBLE.

The worst of his career (and I have seen them all).

Don't forget the Edge of Tomorrow sequel.

I honestly hope it falls apart, Edge of Tomorrow was a pretty good film but does not need a sequel and the title for the proposed sequel is awful.

I don't understand why they plan all these films until after they finish their runs at the box office.

The Fantastic Beasts sequels are going to end up bombing unless Rowling get off Twitter and tries to write something decent.

The Fantastic Beasts sequels will more than likely be hugely successful like the first one was.

The original was an excellent film that was very entertaining and was popular with critics and filngoers alike.

The poster is right about Twitter though.

Rowling has become a radical tweeter, weighing in on issues that simply don't concern her.

Write a few books, star in some movies and suddenly you think everyone should listen to you about everything.

Actors should act, writers write and bands just keep on playing.

Keep tweeting long enough and you're guaranteed to alienate everyone.

Kevin Thunder • on Jun 10, 2017 10:00 pm

Thank MERLIN that J.K. Rowling wrote it.

In fact, I wish she had written the Harry Potter movies.

Half-Blood Prince still leaves a stench in my mouth.

Steve Klove and David Yates turned a good, suspenseful book into a Rom-Com.

Some of the humor was juvenile for my taste, but it had real heart.

✔ Movie to avoid • on Jun 11, 2017 10:58 am

But, I'm sure his Scientology "friends" won't let him.

They make big bucks off of their cult leader, i.e., Tom Cruise.

It's so bad and lackluster and lifeless.

The movie could have worked with someone besides Cruise.

I thought it was supposed to be an epic film.

It was a generic action/suspense film with a powerful mummy rather than a terrorist as the villain.

Tom cruise and Russell Crowe in a mummy reboot was never going to work.

We went to check out It Comes At Night, instead of The Mummy, and were very surprised.

Not exactly the horror that was marketed as, but instead a very claustrophobic and suspenseful film full of dread.

More than the generic action flick Tom's movie looked to be.

I saw a clip of it and it seemed like it was mostly them talking exposition rather than the jump scares you see you horror movies.

That's probably why I didn't see it – but if the reviews are good, I'd give it a second look.

There was also the Megan Leaveny and Cousin Rachel that I was considering and probably will try to see since they look like a 1 week out type movies.

Look Eric, we don't need to hear your life story.

The Undecided Voter • on Jun 9, 2017 9:16 am

A Tom Cruise movie these days are what they are.

I'm not going to see The Mummy & expect a storyline as great as The Godfather.

The leap there to The Godfather is too large.

Few modern movies are as good as that, so a more apt bar would be a World War Z or even San Andreas, which weren't that well received but played their action beats well enough to avoid this kind of backwash.

I'm more curious if Guardians 2 will be able to cross 900mill at the end of its run, it should be around 830mill worldwide at the end of the weekend

Not as good percentage as Winter Soldier or Thor 2 but it made far more money so all evens out depending on what interests you more, and of course it didn't drop stateside like IM2 or Avengers 2.

Key for part 3 will be if it goes up after they make their Avengers sighting because it seems to have maxed out its international appeal around the mid 400's number.

Its out of gas here in North America and was weaker than I would have guessed overseas.

Overseas, Guardians not being pushed past $1B doesn't surprise me all that much.

Return-wise, it was still a slight improvement over the first by a few tens of millions of dollars, but foreign audiences aren't quite as interested in the franchise as more traditional superhero fare.

I think that the third one will get a big boost by the next two Avengers movies, because the Guardians will prominently appear there.

Without Iron Man being involved, I think Marvel's box office ceiling is about $800M-$900M+ – which would also be consistent with similar hugely-successful superhero movies making $700M-$800M+.

This makes me interested in seeing if Spider-Man: Homecoming is the fifth consecutive RDJ-involved Marvel movie to cross $1B or if the movie will come up a few tens of millions short of that – and I definitely think that it'll do better at the foreign box office because of Iron Man's involvement in a movie series that's already popular overseas.

At the current rate it won't, since it's already opened pretty much everywhere internationally.

Right now 855-860M is most likely (385M DOM + 470-475 OS)

It doesn't have another $25 million domestic in it.

After 7 years Marvel seems to have their overseas audience fairly set.

It's not growing much or shrinking much.

Outside of films that are directly branded "Avengers" branded films they'll get in the mid $400's overseas.

There may be some outliers but they will not be huge outliers, most likely.

As an aside, I'm sure they are a little disappointed in the Japanese returns as "weird space team that becomes a family that includes a cute talking tree" seems perfect for that market, but they clearly didn't expect "Beauty and the Beast" to become the third highest grossing film of the last 5 years over there and still basically running the show.

But when you've got a juggernaut, milk it.

Why wouldn't they expect BatB to be successful in Japan after Frozen was and massive hit over there?

carolinaalvarennga • on Jun 10, 2017 8:00 pm

The live action Cinderella hit $47m, Maleficant topped out at $63m.

Beauty should end up around $110 when all is said and done.

Will most likely end with $375-380M in USA and between $860-880M worldwide.

He ruined Star Trek and he has a bad touch.

I hope he never writes or directs again.

He's a decent enough writer, at the very least.

It's funny that women and minorities, even when successful, have a hard time lining up a new gig, but white men get passes over and over.

How many duds does he have to have before we decide perhaps he is not deserving of these projects and someone else should take charge?

"From the director of People Like Us and 2017's The Mummy and the writer of The Amazing Spiderman 2 and Cowboys and Aliens" is not a recommendation that entices anyone.

Pedro you make an excellent point about the passes given out to white men in Hollywood, especially directors.

When women and minorities achieve huge successes, it is certainly not a lock on future gigs.

However, it won't because the heads of the studios are still older, white men who will continue to hire other white men (especially directors and producers) regardless of their track record because that is their comfort level.

Kurtzman is attached to at least a dozen or more tv and film projects.

Yeah except time shouldn't tell anymore because he's failed as a director so many times already to the point where he shouldn't be able to find work anymore.

This is more evidence that Hollywood is as far from meritocratic as can be, giving the social justice types all the more ammo.

Don't Mind Me Now • on Jun 9, 2017 1:01 pm

He wrote a two Star Trek movies that were "meh" at worst.

Anyone who says that there were no bad Star Trek series or movies before the Orci/Kurtzman installments is lying to themselves.

Star Trek fans turn a blind eye to what they want when it comes to pre Abrams era films and TV.

There's much worse Trek out there than the three recent films (and Discovery does not look promising either).

I've never met a Star Trek fan who didn't agree that the one with Spock's brother where they go in search of God in the center of the galaxy (or whatever they were doing) was about as bad a movie as you could imagine.

Hell, William Shatner himself directed arguably the worst TREK movie ever.

I think Paramount should just sell Star Trek, preferably to Warner Bros.

I'm not a "DC fan" per see, I prefer Marvel, but I know Warner Bros knows how to generate Audience Interest–unlike Paramount.

That's the first step in "fixing" Star Trek

Chris Stephenson • on Jun 9, 2017 3:20 pm

Star Trek before Kurtzman and Abrams was a complete dumpster fire.

Enterprise had been cancelled with horrid ratings, and both Insurrection and Nemesis were bombs and bad movies.

The new movie was beloved by critics and fans, and made more money than the rest of the series combined.

Into Darkness wasn't as good unfortunately but still did respectably.

I'm not sure in what way Kurtzman ruined anything considering he wrote one of the most well-recieved entries and brought a dead franchise back to life.

How could Star Trek be dead when the many series are still making millions in merchandising, syndication and streaming?

I know "out of production" equates to "dead" in Hollywood, but Trek is still very much alive to the public,

The box office from the 2009 didn't make more than the whole series — it's the top domestically but behind the 1979 movie internationally — and each reboot movie has made less than the one before.

I enjoyed the reboot film, but I doubt its lasting impact on Star Trek in the long run.

Star Trek is dead because the vast majority of its merchandise consumers are over 40.

They aren't creating new fans like Star Wars, Marvel, DC, Disney, Warner Bros etc.

I kind of hope Star Trek goes away to leave room for other franchises or even original films.

It's just an obvious moneygrab like a needless Hangover 3 or Police Academy 7.

Kevin Thunder • on Jun 10, 2017 10:03 pm

Don't forget Star Trek: Beyond, which was amazing. :)

Although I can't remember if he had anything to do with that movie lol.

But both Star Trek movies have received great reviews and created more fans worldwide; how exactly he ruined Star Trek?

Anyone who listens to the critics instead of their own eyes is a weak-minded fool.

If you didn't know that before last year than the fresh rating for Girlbusters should've cemented it in your mind forever.

So – you have some skin in the mummy game or you're just a misogynist?

Rex the Wonder Dog • on Jun 9, 2017 8:06 pm

Interestingly even the no-weak minded fools who ignored the critics and went anyway in general agree that the Mummy is a bad movie.

While most everyone agrees that Wonder Woman more than deserves what the critics said about her movie.

Sure, I'll ignore the critics as soon as you tell me how to listen to my own eyes without pissing away ten bucks and two+ hours of my time.

Saw this last night at the Chinese Theater Imax.

Not even that glorious screen could save this turd.

I just didn't care while sitting through it.

Tom Cruise felt oddly out of place it it.

So a midnight showing did not compare to a showing at Thursday evening.

How many want to watch a midnight movie without it being a sequel i.e. star wars

Chris Stephenson • on Jun 9, 2017 3:22 pm

It's not a hack job saying nobody wanted to see this movie, it's a factual statement.

To say a movie at midnight, compares to a movie that played all night, should be established movie

I hope Wonder Woman makes +65M, please guys.

Thank God, RT is a non-factor outside the USofA.

It's nice to see people enjoying movies which they like, and not ones they are told to like.

I went to this movie despite the bad rotten tomatoes score.

It's not that "RT is a non factor" (there are hundreds of foreign movie critics), it's that overseas markets enjoy watching awful movies.

Star Power still seems to hold weight over seas a bit more than here – so people keep asking 'why did they make another X' because they don't pay attention to the IBO

Overseas audiences are where NA audiences were 10-20 years ago.

Overseas audience will go see a move is Actor X is in the film, no matter how bad the film is.

NA audiences bother to read reviews, both from professional sources and trusted amateur (friends/acquaintances) types.

And both have films with low RT scores made bank, while several acclaimed films at the aggregation failed to sizzle at the box-office.

But I suppose, overall, people are exerting more discretion while picking what to watch and that is a good thing.

Studios will have to work harder, just like WB had to, and actually deliver a coherent film with strong characters, something to say and a vision instead of just stacking up CGI set pieces.

If we're talking about The Mummy, you forget that Tom Cruise is box office poison in America.

Mission Impossible – Rogue Nation $195 million domestic.

But, Cruise is a falling star here in America.

A more accurate statement would be that Tom Cruise is a negative in the minds of the movie going public when considering whether or not to buy a ticket.

He's not the dispositive factor, one way or the other.

If the movie looks good I'll see it despite him.

I won't go to see many bad movies because of him.

I saw mummy, because I loved the previous reboots.

Chris Stephenson • on Jun 9, 2017 3:24 pm

In what way does a website laying flat how many critics liked a movie and how many didn't tell anyone to like a movie

RT just makes it easier to find what more people that know movies like.

They have RT in the U.K. and it matters there at least.

I don't pay much attention to critic scores, but find audience scores on RT to be mostly reliable.

Right now The Mummy is sitting at 47%, and frankly I find that generous given my impression of the film from a few days ago.

I'm not sure if this is enough to kill the DU franchise given that the next two entries are already in pre-production, but it certainly sucks a lot of the air out of it.

If anyone was excited for more monster movies, they certainly aren't now.

Rex the Wonder Dog • on Jun 9, 2017 8:13 pm

Plus RT blends the " want to see" scores in with the scores of people after the movie is released.

So that tends to increase the audience score.

Otherwise for some movies the audience score would be a lot lower.

If they just used the score of people after the movie was released it would be a lot more accurate.

That makes a lot of sense as to why the score is higher than it deserves.

I wasn't aware they mixed the two scores like that.

If I recall, Want to See for this movie was 96% so that mean audience scores must have been in the toilet to bring that average down to 46%.

prez babycakes • on Jun 9, 2017 12:20 pm

This looked like straight to DVD fare… never seen a Tom Cruise trailer that looked so redbox-rental-ready.

Dead On Arrival Universe • on Jun 9, 2017 12:21 pm

Dark Universe was a stupid idea but they were so desperate to have their own Marvel universe they failed to realize they don't have the characters needed to do a cinematic universe.

Donna Langley should be fired for wasting so much money not just on producing this crap fest but also the millions of dollars she spent on their writers room to develop this monster universe.

None of their planned movies will work the way they want them to.

Donna should be exiled to the Prodigium it's where she belongs there she can spend her time and energy trying to capture legendary monsters.

Universal seemed to think they could 'force' a universe by taking similar themes (hey look spooky human monsters) into what's interlocking.

It's not like marvel created the universe for the movies – they have 50+ years of 'universe' extant to work with

Couldn't they come up with something a little more clever?

As well, the DU has a major rooting/interesting-character problem here.

Do you root for the creepy corporation policing them partly by keeping the public ignorant of them?

It's as if the X-Files had no Mulder/Scully and we had to root for the aliens/monsters.

And this movie proves that star power is not going to compensate for shoe-horned-in, bland protagonists we have no reason to care about.

Frankly, Universal would be smarter buying good contemporary horror novels and doing moderate, well-scripted adaptations instead of redoing these horror classics for the bazillionth time.

There's a reason GET OUT did well–and why its director/writer was smart in optioning LOVECRAFT COUNTRY for the screen.

To steal a quote from "Frequently Asked Questions About Time Travel" (great movie btw):

Man of Steel declined 64.6% from its first to second weekend.

If Wonder Woman declines 52% (or less), that would be awesome (and would match The Dark Knight's second weekend decline).

As far as superhero films go, 52% is an incredible hold, even better than most Marvel or Fox releases.

The average, even for massively successful titles, is closer to 60% or even above it, because the genre tends to be front-loaded.

The only reason that WW is holding out is because the other movies mentioned made way more money than she did.

So its important that people stop making her seem like a great success cuz she's really not.

I mean 10 days in and still not guaranteed to pass the $200 million mark?

And the reason I say this is because everyone is treating her movie as if its an event movie.

DM3 and the true greatest superhero of all Spider-man will put an end to this upstart.

Check holds for Iron Man, Doctor Strange, Guardians of the Galaxy, Thor: The Dark World, or, actually, most Marvel titles.

Lower opening than Wonder Woman and higher second week dips.

Nope, it will keep easing down and will make more than man of steel.

You obviously have no idea what you're talking about.

She's already nearing if not passing 200 mil this weekend.

I mean, what the heck is an event movie?

This movie is a summer blockbuster as all movies are that are heavily advertise, highly budgeted and released during the summer blockbuster gauntlet.

Also, you've failed to define and use examples of how the next three weeks will end her run.

Listing a bunch of up coming movies doesn't say anything.

Box Office Fan • on Jun 10, 2017 5:01 pm

I think he was using Mockingjay Part 2 to base his predictions that Wonder Woman won't gross more than $280 million domestically.

Mockingjay Part 2 had $102.7 million for the first weekend and grossed $52 million for the second weekend.

By the end of the second weekend Mockingjay Part 2 had $198.5 million in the bank.

If Wonder Woman ends up with $200.6 million by the end of the second weekend, Wonder Woman should end up with around $285 million at the end of its domestic run (versus $281.7 million for Mockingjay Part 2).

Wonder Woman will still be below Man of Steel's $291 million.

Wonder Woman is ahead of Guardians of the Galaxy domestically in every way measurable.

Which is what you'd hope for considering she's one of the best known superheroes of all time.

agca hadvatydc • on Jun 10, 2017 9:00 am

nonsensicalwhimsy • on Jun 10, 2017 9:54 am

Sounds like you're desperate for it to not do well.

I keep seeing posts similar to this, and I don't understand why.

carolinaalvarennga • on Jun 10, 2017 3:11 pm

carolinaalvarennga • on Jun 10, 2017 3:06 pm

carolinaalvarennga • on Jun 10, 2017 2:57 pm

Hopefully Langley will finally be cut loose

has terrible taste, this dark Universe crap she championed so hard is awful, nobody cares about this franchise or ever will.

Universal had the best year in its history two years ago.

There's no way that Universal's BoD is gonna let her go anytime soon.

If low critic ratings mean Hollywood has to tell better stories, then so be it.

Why on earth did Tom Cruise agree to this?

I think it's because Cruise seems unsure of where to go and what to do.

Think of it this way, in 1999 when the first Brendan Fraser film came out and what Cruise was doing that year, if you asked anybody (including him) if they thought 18 years later he would be rebooting that series, no one would have bought it.

But he has limited time left on the Mission series, Jack Reacher is a bust and so he seems to be trying to find a way to stay relevant in action tentpoles

What he should be doing is, while not yet giving up on popcorn yet, try to start mixing in proper acting roles in other types of movies, the way he flirted with in the past.

He's already past his genuine box office domestic peak but he remains one of the few 'stars' of the 80's/90's who still can work on a global level, but not for very much longer at 54.

Would love to see Dwayne Johnson in a Jack Reacher role

Rex the Wonder Dog • on Jun 9, 2017 8:15 pm

Because he is Tom Cruise and he thinks every movie is better with Tom Cruise.

It sounds like he really wanted to do a classic horror piece–and he was slated to do del Toro's IN THE MOUNTAINS OF MADNESS Lovecraft adaptation.

But when that got killed, this was the next best thing.

The Mummy started off fine, but became confused and lacklustre as the film progressed.

I like Cruise but felt he was miscast and too old for the part.

Wouldn't be surprised if Wonder Woman is closer to $55 million for the weekend.

Mummy was a snoozefest and beneath the talent involved.

The classic monsters need to be given a rest for a while.

Im really confused about the overwhelming amount of negative reviews this movie is receiving.

Since when do summer blockbusters need to be critically acclaimed to be enjoyable?

This movie was fun and worth the price of admission.

It's an audience pleaser not a oscar contender.

Im sure the studio also banked on the global performance of the movie and I don't think Universal ever really expected this to be a Monster hit in the US.

They wanted to get this dark universe started quickly and they needed a safe bet so they enrolled Tom Cruise, gave him the some creative control on action sequences, marketed the crap out of it, and now have a starting ground.

It'll make $400 million or more worldwide and they left plenty of room to lead the Dark Universe in any direction they want it to go.

I can't believe it took six guys to write that horrible dialogue.

We read all the bad reviews right before we saw it and we still enjoyed it.

"Since when do summer blockbusters need to be critically acclaimed to be enjoyable?"

There's a difference between the good, well-made sort of mindless franchise movie (GotG 1 and 2, the Captain America movies) and movies that are just inept and annoying (The Mummy, countless others).

But bad movies do well overseas all the time.

I'd say keep an eye on foreign BO before writing this one off.

You quote two Marvel films as examples, they should be exempted due to the he comic book film craze sweeping the world.

I would rather see the new Pirates film as an example which I thought was very enjoyable.

I think the US is heading down a one way street now with Marvel and DC driving the bus.

All well and good if you love those films but the rest of the world prefer some variety in their heroes

Bugs Meany (@BugsMeany) • on Jun 9, 2017 2:46 pm

Really, who was asking for this to be rebooted?

The Mummy needed to be good to justify its existence.

Well, everyone expect studio knew that "The Mummy" with Tom Cruise will flop on the day it was announced.

Because no one was asking for new "Mummy franshice".

But some people thought: "Well, if they invest so much money in it then I guess they have good plan for it and script.

Maybe I will give it a try and wait for trailer.

After all those Brendan Frasier ones were fun adventure ".

And then trailer came and it showed that studio had no plan, it has no relation to previous Mummy franchise.

It's some popcorn movie where Tom Cruise runs and saves the world, there is some ghost like evil woman and some cloud or something….

Do they really thought that 54 years old Tom Cruise still has the power to bring 150 millions to every blockbuster he stars in?

Oblivion, EoT and Jack Reacher all underperformed.

Yes, but Edge of Tomorrow wasn't one of the best sci-fi action films of the last decade and Cruise was perfectly cast.

My dumbass phone decided to change it to wasn't.

"Edge of Tomorrow" was an excellent sci-fi/thriller/adventure film.

But I don't think it was marketed as well as it could have been.

But let's face it, with a title like "Edge of Tomorrow," which sounds like a soap opera and doesn't describe what the film is really about, they weren't giving their marketing department much to work with.

I think the title did undermine the film's success quite a bit.

And perhaps, at the time, his religious beliefs and marital woes, put on blast by the tabloid media, may have dinged his ability to attract an audience as well.

I'm not a huge Tom Cruise fan, at all, but this film was brilliant!

There is no such thing as celerity pull anymore(and people are tired of too many British actors).

Can you give some examples who you would have cast instead of just trolling?

People who appreciate superior acting are not tired of too many British actors; only xenophobe would say that.

If what you say is true, you wouldn't keep seeing Hugh Laurie, Naomi Watts, Kim Catrall, Christian Bale, Gillian Anderson, Haley Atwell or a hundred other performers who are so talented you didn't even realize they are British.

When was the last hit movie any of those actors had in the US?

Hollywood is ignoring the domestic box office by not employing more US actors like, African American, Hispanic, Native American, Asian instead of foreigners.

Johnny Depp is Native American yet he's cast in movies all the time

The movie business is a world wide business not an American one.

Hidden Figures was only big in the States but nowhere else.

Other movies like The Golden Compass underperformed in the States but were saved by European audiences

My point is some movies are made more for Europeans than Americans

Johnny Depp is like 1 percent Native American, if that.

Trying to single out Depp for the sake of diverse casting is laughable.

I didn't know that Kim Catrall was British.

Thank you, I learned something new from your post.

However, Gillian Anderson, is not British.

She was born in Chicago, lived in England until she was 11, then moved to Michigan.

British actors, Australian actors, American actors, I could give a fiddler's damn.

I've complaining about all these Brit actors for awhile now.

Movies with them in it usually tank at the domestic box office.

They are cheaper than Americans and no better.

I think if Brit actors were all barred from US TV and Films you would notice a pretty big gap.

Game Of Thrones would be gone completely.

No Bond films, no big budget films made cheap with tax incentives in the UK (they require a quota of UK actors to qualify), recast Star Wars.

Rogue One, 1 billion dollars WW with over 500 million domestic with 2 of the 6 main cast being British.

Beuaty And The Beast, over 1 billion dollars, both leads British, films in Britain.

Yeah I can see your logic, let's just ban all those crappy Brit actors

##### Bill Cosby Jury Has Lots Of Questions As Day 2 Of Deliberations Ends

##### Fox Formalizes Simon Kinberg To Helm 'X-Men: Dark Phoenix'; Jennifer Lawrence, Michael Fassbender, James McAvoy Back, Jessica Chastain In Talks

##### 'The Walking Dead's Danai Gurira Starring In 'Avengers: Infinity War'

##### 'Deadpool' Pirate Arrested; Illegal Copy Of Fox/Marvel Movie Watched By 5M On Facebook

##### Bernie Sanders Addresses Senate After Learning Alexandria Shooter Was Campaign Volunteer

##### 'Big Bang Theory' Star Mayim Bialik Signs With Studio71

##### Bart & Fleming: 'The Mummy's Franchise Fail & 21st Century's Top Films So Far

##### 'Criminal Minds': Kirsten Vangsness & A.J. Cook Close Deals, Get Raises To Return

##### 'Bachelor in Paradise' Participant Corinne Olympios: "I Am A Victim"

##### VidAngel, Shut By Court, Relaunches With New Streaming Model

A.R. Gurney Dies: 'Love Letters' Playwright Gently Jabbed American WASP In Decline

Free Theaters Threatened In Fallout From 'Julius Caesar' As Supporters Plan Rally

'The Intouchables' Remake With Kevin Hart & Bryan Cranston To Open Early 2018

'Cars 3' To Zoom Past 'Wonder Woman' For Top Box Office Spot – Preview

Acclaimed Tony Winner 'Indecent' Will Close June 25

'Deadpool' Pirate Arrested; Illegal Copy Of Fox/Marvel Movie Watched By 5M On Facebook

Creative Development CoordinatorTriptyk Studios, New York, New York

Bridgewater Associates, Westport, Connecticut

Associate Director, YouTuber & Gamer Partnerships

Save the Children, Fairfield, Connecticut

Reception.:Box office.:United States and Canada.

In North America, the film was released alongside "It Comes at Night" and "Megan Leavey" and was originally projected to gross  $35–40 million from 4,034 theaters in its opening weekend.