Next month will see the US theatrical release of the remake of RoboCop. The original film had an estimated budget of $13 million dollars that went on to gross some $53 million in the US alone. If one movie from the 80s defined the term 'sleeper hit', it was Paul Verhoeven's strange and violent film.

Dutchman Verhoeven had graduated from a series of critically acclaimed works in his home country to a controversial and not particularly well-received Hollywood debut Flesh & Blood - and so not much was expected of this grim and gory sci-fi parable on the perils of big business and cynical satire of American culture. Yet far away from Tinseltown and Detroit, one man in Manchester saw potential not just for a blockbuster film, but also for a rip-roaring game.

"The decision to license the game was based purely on reading Ed Neumeier's script," beams Ocean's then-software manager, Gary Bracey, who oversaw the production of many of their famous movie and TV adaptations. "It just seemed to resonate with me - the combination of action and the genre made it very compelling."

Given the relative lack of Hollywood star power behind the project the license remained, it was most definitely a risk. "That's very true," nods Bracey. "It could have turned out to be a real B-Movie. So in that regard it was a huge leap of faith." Bracey was later vindicated when he finally saw the film, though. "I loved it when I first saw it and repeated viewings have not diminished my enthusiasm for RoboCop. I think it's a fantastic movie."

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The interminably annoying Casey Wong makes an appearance in the Amiga and Atari ST versions.
But that was before production on the game had begun, and once the licence was secured for a meagre $20,000 Ocean were sent production stills, and eventually, VHS tapes containing short scenes to help them represent the movie's protagonists as accurately as possible. Ironically, given their penchant for arcade conversions, Ocean then licensed the rights of an arcade version to Data East, with whom they enjoyed a close relationship, before, in an admirably inventive move, using Data East's arcade game as a reference for their home versions. As was common at the time, shoehorning an intense cinematic experience into a 48k ZX Spectrum or Commodore 64 computer would be a formidable task; fortunately the Manchester-based company were already highly experienced in the conversion process, although RoboCop was about to arthritically stomp on all of their previous efforts.

"Even though we were basing it on the arcade game, we wanted our home versions to differentiate from the coin-op; so we came up with the idea of incorporating some extra sections to make them a little more unique," explains Bracey, referring to the photo-fit and hostage scenes that occasionally puncture the run-and-gun action template laid down by Data East's arcade machine. Ocean was determined that even if the movie bombed at the box office, its game would be able to stand on its own merits. When, as Bracey calls it, the 'perfect storm of great game plus great movie' was formed, everyone at the software house knew they had a sure-fire smash hit game on their hands. Yet the development of RoboCop was as frantic and frenzied as many other big games of the era. Constantly under pressure, the respective Spectrum and Commodore teams worked around the clock, battling not only time, but the restrictive nature of the hardware. Each computer had its own drawbacks, although Ocean had already assembled an experienced team to combat and work around such issues. Coding duties on the Sinclair machine were handled by Mike Lamb, veteran of titles such as the acclaimed arcade conversion Renegade and another game-of-the-movie, Top Gun.

2
It may have improved gameplay but RoboCop should not be able to jump. Ever.
"We were really short of memory," grimaces Lamb, "so I had to do things such as make random masks for the dying baddies. They basically dematerialised like they're being beamed up in Star Trek because we didn't have room for any further animation." Despite more hardware support and memory, things did not prove much easier on the Commodore 64. "The eight sprites on a line restriction was always a pain with games like RoboCop," bemoans C64 lead coder John Meegan, "as even with multiplexing, you had to be careful as the sprites would tear or glitch if the reused sprite crossed itself. And the colour scrolling was a huge processor hog, as was sorting the sprite table."

One obvious potential issue that didn't transpire, however, was the level of the film's violence, which was apparent even from the script. "There was never much discussion on that," says Meegan, "as in those days violence in games was very abstract." Lamb, whose team worked separately from Meegan and his colleagues, recalls: "I think we might have wondered about replicating the scene where the guy gets shot in the groin by RoboCop; now I think about it, if we could have made the game more violent, we probably would have!" he adds. "That was never going to happen," counters Bracey. "We perceived RoboCop as a game for everyone, even if the younger audience were unable to actually view the R-rated movie!"

Ultimately, both the Spectrum and Commodore teams created outstanding and playable adaptations of the dystopian movie, despite several key differences in the game design. On the ZX Spectrum, RoboCop would infamously "freeze" whenever he was hit, leading to some frustrating moments if the player wasn't careful, while the Commodore 64 saw the silver cyborg blessed with just one life - although he did have the rather ungainly and unlikely ability to jump. Despite this, both versions were criticised for their steep difficulty curve.

4
Identify Emil in the photo fit section.
"RoboCop was way too tough," says C64 coder John Meegan, "essentially because when you'd programmed and debugged the same gameplay over and over again, you knew exactly what to do and when, while the poor gamer doesn't." But Mike Lamb disagrees, adding: "The initial play testing said the game was too easy. So we made it harder, and I think got it just about right. Once you work out the patterns of the enemies, it's actually fairly straightforward."

Now convinced they had a hit on their hands, Ocean lavished a huge glossy box on RoboCop and enforced a heavy advertising campaign. "They were expecting Operation Wolf [a high-profile arcade conversion] to be their number one at Christmas," says Lamb proudly, "so we were dead chuffed when RoboCop got there instead." For many of those involved, RoboCop represented a then-highlight of their careers and a platform for further success. "It was the biggest game I'd been involved with and I had enormous pride in what the developers achieved," notes Bracey, "and it was also the first license I had actually identified myself so it felt great!"

That 'perfect storm' continued to benefit Ocean as the time pressure placed on the developers paid huge dividends. RoboCop the game was released in time for Christmas 1988, just as the UK VHS video release was flying off the shelves at both rental and retail stores, and became a huge hit. Work had already begun on an Atari ST version as Ocean looked to exploit the expanding 16-bit computer market, and soon the game was also ported to the Commodore Amiga and Nintendo Entertainment System, the latter by Data East; it was the movie license that just kept on giving. Bracey himself even found fame (sort of) as parts of his face were used for the 16-bit version of the photo fit mini-game.

But the overall legacy of Ocean's RoboCop sets it apart from most other titles of the era. It was reportedly the first million-selling videogame, and also the first to be licensed back to an arcade company by a home computer software house. But perhaps most importantly, it helped its publisher weather the storm of the late 80s, when the power base of videogames slowly began to shift from home computers to dedicated consoles such as the NES and Master System, and then their successors, the SNES and Mega Drive. It spawned two sequels (including an ambitious first-person shooter, RoboCop 3, on the 16-bit computers and PC) and launched a succession of careers for those behind its creation.

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Yash Raj Films' "Dhoom 3" continues to have a strong hold at the box office, despite the presence of new releases. The screen count of the film has gone down drastically as it enters its fourth week but the film continues to rake in the moolah.

The Aamir Khan starrer has raked in ₹277.73 crore in three weeks from the domestic box office and $25.78 million [₹159.74 crore] from the overseas markets, according to trade analyst Taran Adrash. The worldwide nett total of the film stands at ₹437.47 crore.

"Dhoom 3" is getting close to the ₹300 crore mark but the collection has declined from its third and fourth week. It is quite likely that "Dhoom 3" will eventually surpass the triple century mark and trade analysts are expecting it to set a new benchmark.

"Dhoom 3 is doing extremely well, and the kind of business it has done so far is unheard of. It is the fastest film to reach ₹ 100 crore and was even faster to enter the ₹ 200 crore club. Mind you, Aamir gave the industry's first ₹ 100 crore film in 'Ghajini', first ₹ 200 crore in '3 Idiots' and 'Dhoom 3' has a very bright chance to earn ₹ 300 crore," trade analyst Komal Nahata told Financial Express.

Walt Disney's 3-D computer-animated musical "Frozen" hit the second place in five-day and three-day box office
with 93.4 million dollars and 66.7 million dollars. It scored the top Thanksgiving debut of all time eclipsing the
80.1 million dollars five-day gross of Pixar's "Toy Story 2" in 1999.

"Frozen" was written by Jennifer Lee based on the Hans Christian Andersen fairy tale "The Snow Queen."
Lee also directed the film with Chris Buck.The 3-D animation earned a 84 percent positive rating from reviews
aggregator Rotten Tomatoes, and a solid "A+" from CinemaScore. About 57 percent of the audience is female moviegoers
and those 25 and under made up 58 percent.

"Frozen" drove most families to the cinema with 81 percent of the film's total audience which shows the film is on
track to be a real Christmas present for Disney. Children ages two to 11 accounted for 38 percent of the audience.

Also, Disney's "Frozen" was ranked the first at the North American box office, surpassing "Hunger Games: Catching Fire,"
winner of the tickets revenue for the previous two weeks.

District 12's finest got knocked out of the winner's circle this weekend by Disney's Snow Queen, as FROZEN
rose to the top of the box office with $31.6 million! The 3-D animated winter musical collected an estimated revenue
of 31.6 million U.S. dollars during its second weekend in release and grossed 134.3 million dollars after 17 days
in North American theaters.


Internationally, "Frozen" has taken in 190.2 million dollars in total tickets revenue.

While the big story at the weekend box office was the success of Malcolm Lee's ensemble comedy sequel The Best Man Holiday, released by Universal Pictures, it wasn't able to dethrone last week's #1 movie, Thor: The Dark World, starring Chris Hemsworth, Tom Hiddleston, Natalie Portman, Anthony Hopkins and Christopher Eccleston.

The hit superhero sequel dropped 55% to remain on top with $38.4 million, its domestic total of $147 million already at 81% of the total gross of the original Thor after just ten days.

Internationally, the movie added another $52.5 million so its international gross of $333 million is still surpassing domestic by 2:1. With a worldwide gross currently at $480 million, it's already surpassed the amount made globally by its predecessor.

With Krrish 3, Rakesh Roshan is taking forward his sci-fi superhero franchise with son Hrithik Roshan in the lead. But will this mega budget film live up to expectations. Will it become the highest grossing film of this year? We find out….

Director Rakesh Roshan’s Koi Mil Gaya and Krrish set the cash registers ringing. Now the successful director is back with Krrish 3, the third installment of his superhero series – this one stars Hrithik Roshan, Priyanka Chopra, Kangna Ranaut and Vivek Oberoi. Krrish 3 has at all – star power, visual effects, new-age villain and great buzz. Surely it can’t get better than this! But will it rule the box office this Diwali? Will Krrish 3 get a thunderous start? Exhibitor-distributor Akshaye Rathi says, “Krrish 3 is undoubtedly one of the big ticket movies releasing this year! While the numbers from the first three days may not be as big as they would have been if the film had released on the 4th because of the activities people keep busy with pre-Diwali, the film is sure to rake in a lot of money in its overall run at the cinemas.”

Most filmmakers bank on public holidays to boost their film’s prospects at the ticket windows. That’s what Senior Roshan is also hoping for by releasing Krrish 3 during the Diwali weekend. Plus, the Hrithik Roshan-Priyanka Chopra starrer has no competition at the box office, which will prove to be a huge advantage. “The trailers are doing fantastic and the buzz is great around the film; however, Krrish 3 lacks in music. But since it’s a solo release and that too during Diwali weekend, Krrish 3 will benefit from this,” points out distributor Sunny Khanna.

With so many factors working in its favour, will Rakesh Roshan’s latest offering beat the box office record of Chennai Express, the Shahrukh Khan-Deepika Padukone starrer? “Chennai Express was a solo release during Eid and managed to get cash registers ringing. So is Krrish 3 at Diwali. Also, the ticket prices of the superhero film are higher in multiplexes, just like Chennai Express. In that way, there is lot of similarity between the two films. But as far as beating the record of Chennai Express is concerned, I think the movie will collect around Rs 180-200 crores, but that’s just an estimation. The collections can go beyond that,” added Khanna.

Rohit Shetty’s romcom became the first film ever to cross Rs 100 crore nett in its opening weekend. Will Krrish 3 outdo SRK’s film and race ahead? “Rs 100 crores should surely be crossed in the first four days, by Monday. In fact, the film would have surely crossed the lifetime figure of Chennai Express had the songs been better, but the chances are even despite that,” believes Rathi.

Whether Krrish 3 breaks all the records set by Chennai Express is to be seen. But one thing is for sure, it will be a dhamakedaar Diwali at the box office with Hrithik back in his black cape and more super-power!

Most of us know Morgan Spurlock as the star and director of “Super-Size Me,” in which he first-handedly explored the perils of the largest fast food chain in the world – McDonalds. Here he is nine years later, directing a movie that follows a British-Irish boy band and their journey to stardom. 

“One Direction: This Is Us” attempts to capture the hearts of millions of fans around the world by providing a closer look into the lives of Louis Tomlinson, Zayn Malik, Niall Horan, Liam Payne, and Harry Styles. 

For those new to the story of 1D, all five members auditioned separately for the UK version of “The X Factor” back in 2010. It was a mutual decision between Simon Cowell and Louis Walsh that brought the lads together as what would be one of the biggest boy bands in the world. 

Breaking records even the Beatles could not surpass, One Direction quickly rose to fame with the help of their dedicated and screaming Directioner fans who did not miss a concert, bought every album, and collected every poster. With the help of social media sites such as Twitter and exposure on television, their voices were hard to ignore.

Baring similarities to Miley Cyrus, the Jonas Brothers, and Justin Bieber’s concert movies, “This Is Us” is just that -  another concert movie. There is much left to the imagination as we expect to unveil more about the boys’ personalities. Yes, Harry is sweet, Niall is adorable, Zayn is mysterious, Louis is hilarious, and Liam has a heart of gold, but we fans knew that already. 

Now is a good time to admit that I am a Directioner, but as a Directioner, I wanted more. More footage, more behind the scenes, and more of what makes them beautiful, on the inside of course. 

As the movie’s title suggests, “This Is Us” intends to establish a vivid picture of the boys as people rather than pop stars. I could have done without at least half of the concert footage, as most of the fans who watched this movie most likely attended a concert of their Take Me Home tour (August 9, 2013, best night ever!). 

Between their pre-show rituals and crazy onstage antics, the boys prove that they can have fun in more ways than one. Sure, performing in front of thousands of fans is enough excitement for the ordinary person, but these boys find ways to entertain themselves just as normal teenage boys would. Playfully rehearsing a choreographed dance, viewers can confirm that this isn’t your typical boy band. Instead, they parade around the stage, pull pranks on one another, and change their lyrics to reference KFC.

Our closest venture into the world of their personal lives occurs when familial interactions and unexpected confessions are unleashed on screen. 

The idea that these lads are normal boys having the time of their lives is a recurring theme throughout the movie. I would have liked to know more of who they are as people, but it was still enjoyable to watch. Unfortunately, it does not live up to its name.

Hugh Jackman's latest incarnation as The Wolverine has topped the US box office with $55m (£35m) in ticket sales, according to studio estimates.

The film earned another $86m (£55m) overseas, which means it has made more than the $120m it cost to make in its opening weekend.

It is the sixth film in the X-Men franchise -which has now made $1.9bn ( £1.2bn) worldwide.

The Wolverine is set in Japan and features an international cast.

Chris Aronson, Fox's head of domestic distribution said "it played equally well from Maine to Maui".

Low-budget horror movie The Conjuring slipped into second place, taking another $22.1m (£14.3m).

Despicable Me 2 was in third place with $16m (£10.3m) - it has now made more than $600m (£389.5m) since its release four weeks ago.

Animated film Turbo and Adam Sandler's Grown Ups 2 made up the rest of top five.

Continue reading the main story

US box office top five

The Wolverine - $55.m

The Conjuring - $22.1m

Despicable Me 2 -$16m

Turbo $13.3m

Grown Ups 2 - $11.5m

Source: Hollywood.com

Grown Ups 2 took $11.5 (£7.4m) for its third weekend. It has now made $100m (£64.9m).

Woody Allen's latest film Blue Jasmine had a strong opening, despite only being shown in six cinemas. The film, which stars Cate Blanchett, made $612,767 (£397,832.65) from the six cinemas.

Paul Dergarabedian of box office tracker Hollywood.com said it was "one of the biggest opening per-theatre averages ever for a non-animated film".

He also noted that ticket sales over the weekend were up almost 30% from the same time last year.

Just making it into the top ten is Sundance festival winner Fruitvale Station. The film, which is generating Oscar buzz, made $4.65m (£3m).

Warner Bros's Superman reboot, Man of Steel, enjoys the biggest June opening ever seen in the US.

Man of Steel, Warner Bros’s big-budget reboot of the Superman franchise, broke US box office records when it opened this 

weekend. The film, which stars British actor Henry Cavill and cost around $225 million to make, took $113.1 million 

this weekend, giving it the biggest June opening in US history, a record set in 2012 by Toy Story 3, which took $110.3 

million.

Man of Steel earned an additional $12 million from late-night Thursday screenings, taking its domestic total to $125 

million, and far outshining the last Superman reboot, Superman Returns (2006), which starred Brandon Routh and took 

$52.5 million in its opening weekend.

Rumours of a Man of Steel sequel, which were already rife before the film opened (according to website deadline.com, 

the film is already in production) have now been cranked up a notch, with The Wall Street Journal claiming that Warner 

Bros are expected to fast track the film for release as soon as 2014.

Meanwhile, despite receiving mixed reviews, the film is flying high in UK cinemas, having taken £17.4 million 

($27.4 million) this weekend. Man of Steel's weekend take in North America was $113.1 million, the top opening for June. 

Combined with $12 million from special Walmart screenings Thursday night, the film's domestic total through Sunday 

was $125.1 million.

As a way of comparison internationally, Man of Steel is pacing nearly 40 percent ahead of Nolan's sequel The Dark Knight, 

which ultimately earned $470 million overseas. It opened to a $17.1 million in the U.K., one of the best showings for 

a superhero film and almost on par with Iron Man 3 earlier this summer.Man of Steel debuted to $9.9 million in South 

Korea and $9.8 million in Mexico. The film makes a major push next weekend when opening in another 26 markets, including 

a raft of major European markets.

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During the summer blockbuster season it seems like every movie gets the 3D treatment, whether it deserves it or not. Sure, 

you can argue that the visual spectacle of Iron Man 3 or Star Trek Into Darkness earned the right to charge more for 

a 3D ticket. The Great Gatsby, on the other hand, might have been a bit of a stretch. And Fast 6, I’d argue, could have 

used the extra 3D kick. At least that screenings in IMAX, where available. 

The next 3D feature we have this season, though, is Epic, an animated adventure from Ice Age director Chris Wedge that hopes to plunge audience members into a miniaturized forest setting for a story that’s loosely derived from William Joyce’s story of the Leafmen. In the past, 3D and animation have gone hand-in-hand. Is that the case with Epic? Let’s put our glasses on and explore. 

Epic added another 20 territories this weekend, bringing in $23.1 million to see its overseas cume raise to $44 million. 

The animated film has now grossed $78.4 million globally. The U.K. brought in the best performance, opening in #3 with 

$5.1 million. The film grossed $3 million in France, opening in #2 behind Fast & Furious 6. Epic will open in 26 new 

markets next weekend.

Action movie "G.I. Joe: Retaliation" won the weekend box office battle in the United States and Canada, fighting off 

competition from cartoon cavemen, a Tyler Perry drama, and an alien-possessed heroine trying to save the human race.

"G.I. Joe," a sequel starring Channing Tatum, Dwayne Johnson and Bruce Willis, secured $41.2 million in domestic ticket 

sales from Friday through Sunday, according to studio estimates.

Last week's winner, animated prehistoric adventure "The Croods," slipped to second place with $26.5 million in North 

America (the United States and Canada). "Tyler Perry's Temptation" landed in the No. 3 slot with $22.3 million.

"G.I. Joe" opened Wednesday evening to get a jump on the Easter holiday weekend. The cumulative box office after Sunday 

is estimated at $51.7 million. In international markets, the movie racked up $80.3 million, for a global haul of 

$132 million.

"The result is as spectacular as the look of the movie," said Don Harris, president of domestic theatrical distribution 

at Paramount Pictures."We couldn't be happier with the result in terms of both the domestic and international box office 

and the response from movie goers."Inspired by a Hasbro toy, "G.I. Joe" tells the story of elite soldiers fighting the 

enemy organization called Cobra as well as threats from within the federal government. The sequel to 2009's "G.I. Joe: 

The Rise of Cobra" was slated to open last summer, but the release was delayed to convert the film to 3D.

Viacom Inc's Paramount Pictures, MGM and Skydance Productions produced the sequel for about $130 million. Ahead of the 

weekend, forecasters predicted a domestic tally around $38 million for "G.I. Joe."..