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Ice Age 4 usurps Spidey to dominate int’l arena on $95m Fox International reported that in its third weekend the animation was active on 14,131 screens in 64 markets and has now reached a $339m running total. 

Fox International claimed Ice Age: Continental Drift ranked number one in 30 of its 37 markets where rankings were available at time of writing. The early worldwide tally stands at $385m. Russia led the way on $16.4m from an all-time wide screen count of 2,090 screens as the film scored the biggest opening weekend of the year-to-date and the biggest opening day for an animated film. The UK debut generated $9.1m from 1,246, which combines with previews for a $20.8m running total. 

There was a strong Hong Kong launch on $2.1m from 127. Germany produced $12.4m after climbing 7% in the second weekend from 1,214 for $33.6m. France led the third weekend holdovers on $6.9m from 1,019 for $34.3m, which ranks as the second biggest territory gross so far behind $34.9m in Mexico following a $4.4m gross there from 1,046.

Staying with the third weekend holds, Ice Age 4 grossed $5.3m in Brazil from 891 for $28.6m, $4.1m in Australia from 456 for $23.7m and $2.6m in Argentina from 270 for $14.8m for the industry’s biggest third weekend. Spain stands at $13.2m, Colombia a staggering $10.1m, Norway $6.8m and Sweden $5.1m.

‘Super Six’, six separate stories revolving around three couples comprising young and energetic stars are going to be the
latest big budget hits of the Sri Lankan cinema.The maiden direction of experienced television programme producer,
Udara Palliyaguruge, the film is about cricket and a group of youngsters with their lives, romances and many other
interesting encounters that they come across.
 
‘Super Six’ centres around a group of youngsters from a town in Moratuwa. The game of cricket brings their worlds and dreams
on to one platform — the pitch!. Set within the present day, the freewheeling passion for Cricket decides the fate of the
young groups and their dreams.Unpredictable perils of fate and destiny are both the subjects of their lives. The kinetic
journey goes through friendship, love, madness and creativity: The young individuals unbridled hopes of youth take them to
a professional tournament called the ‘Super Sixes’. Rivalry among the teams begins, not only on the pitch but outside it
too. Along the way they discover the true meaning of love, friendship and most of all courage.
 
Estimated at Rs. 77 million, the biggest part of the budget is to be spent to improve a technically high standard movie
with extraordinary action sequences.“This is going to be a completely different cinematic experience for Sri Lankan cinema
goers and we are 100% sure that it is going to be a hit,” Sadesh Kumar, the producer of the film said replying to a
question of taking risks with high budget movies in Sri Lanka.
 
“The genre of this film is ‘Jollywood’ which incorporates all emotions and senses known to the human mind and spirit,”
said director Palliyaguruge who holds a degree in Cinema from the Asian Academy of Film and TV India.“With cricket being
Sri Lanka’s national pastime, Super Six revolves around a group of youths participating in a six a side tournament,” he
said at the launch of the movie. On the other hand there are six separate stories that run in parallel and interwoven at
one point, he said describing the title ‘Super Six’.
 
There are unpredictable perils of fate and destiny that are intertwined in each of these young people’s lives while they
strive to achieve their dreams on the singular platform of the cricket pitch. But the rivalry among the teams spills over
into their off-the-pitch lives although the ultimate lessons are the values they acquire from each other in this
‘Super Sixes’ tournament,” the director added. The main roles of the movie are to be played by Sanath Gunathilake,
Mahendra Perera Roshan Ranawana, Saranga Dissasekera, PabodaSandeepani, Aruni Rajapakse, Hemal Ranasinghe,
Duleeka Marapana, Maalika Sirisenage, Suneth Chitrananda, Sangeetha Sadani, Chitra Warakagoda, Manike Attanayake,
Priyantha Seneviratne, Rodney Warnakula, Anton Jude and Jeewan Handuneththi.
 
In addition there is a supporting cast of nearly 160 in this movie together with nearly 80 in the technical crew.Anura Ekanayake
has scripted the film while R. Costa is the cinematographer and M. Ayagama is the art director. I. Udaralanka handles
makeup while Sumathi Kudaligama is the costume director and A. Ariyaratne and Shanaka are production managers.
Music direction is by Mahesh Denipitiya and Iraj Weeraratne set to the lyrics of Nilar M Cassim, Nandana Wickramage and
Wasantha Bandara Dukgannarala. Playback singing is by Rookantha Gunathilake, Champa Kalhari, Shihan Mihiranga and

Surendra Perera.

“Marvel’s The Avengers” grossed a whopping $200.3 million domestically over the weekend, claiming the highest grossing weekend
total in history, a record previously held by “Harry Potter and the Deathly Hallows Part 2,” at $169.2 million.In its first
three days, “The Avengers” has already grossed more than “Thor” ($181 million), “Captain America: The First Avenger”
($176.6 million) and “The Incredible Hulk” ($134.8 million), and is on track to surpass “Iron Man” and “Iron Man 2,” with
lifetime grosses of $318.4 million and $312.4 million, respectively.“The Avengers” had an equally impressive debut in the
foreign market, drawing in an additional $441.5 million to bring the film’s worldwide gross to $641.8 million.
 
The film began its advertising campaign back in 2008, when Nick Fury (Samuel L. Jackson) made an appearance after the
credits in “Iron Man,” and the release of “Thor” and “Captain America” thereafter indicated a future film to unify the
Marvel characters under a single title.“The Avengers” is that title, its success served well by using each of the
previous Marvel films as a form of advertising, though the profits of those films certainly speak for themselves.
 
Even for those who have not seen the individual titles, “The Avengers” offers a plot relative to, but independent enough
from each of those films to prevent a viewer from feeling left behind or confused.Is the film as good as its earnings
suggest? Yes, and better. In fact, it was good enough to turn me, a self-declared superhero film skeptic, into a believer.
“The Avengers” begins with the reintroduction of Fury, the director of an espionage agency known as S.H.I.E.L.D., who is
experimenting with a Tesseract, an energy source with great military potential. As the device begins to emit unusual
radiation, the Norse God Loki portals in through the energy field, fights off Fury’s agents, and manages to escape with
the Tesseract. Loki promises to give the Tesseract to an alien race known as the Chitauri in exchange for an army to help
him subdue Earth’s population.
 
Knowing the power of the Tesseract, Fury reactivates the Avengers Initiative and with the help of his staff, tracks down
Dr. Bruce Banner/The Hulk (Mark Ruffalo), Tony Stark/Iron Man (Robert Downey Jr.), and Steve Rogers/Captain America
(Chris Evans). The group manages to track down Loki and capture him, but Thor, Loki’s brother, bursts into their plane
and takes Loki in an effort to reason with him.
 
After a scuffle with Iron Man and Captain America, Thor returns Loki and accompanies the group back to S.H.I.E.L.D.’s
aircraft carrier to imprison him. As the group grows divided on how to proceed in finding the Tesseract, Loki’s enslaved
agents attack the carrier and set Loki free. Loki later uses the Tesseract to open a portal above Stark Tower to enable
the Chitauri invasion. The Avengers must regroup, put their differences aside, and put their skills to use in order to
fight of the Chitauris and save the planet from Loki’s ruthless rule.
 
The cast shares the spotlight pretty equally, with, justifiably, a bit more focus on Robert Downey Jr., who is simply at
his best in this film. His character is witty, fast thinking, and egotistical, but above all, just plain funny. In fact,
this film has an abundance of laugh-out-loud moments and could easily be qualified as an action-comedy. The dialogue is
just asimpressive as the action, giving the film additional depth and helping build suspense for each coming action scene.
There are an abundance of semi-climactic moments in this one, made possible by the fact the Avengers can’t seem to play nice
with one another. Whether it’s Hulk versus Thor or Captain America and Iron Man teaming up against Thor, the film is made
that much more action-packed by placing the Avengers against one another before they unite. The Hulk’s temper is more
outrageous than ever, and though his loyalty to the Avengers eventually comes around, his unpredictability will no doubt
keep viewers on the edge of their seats, and at times, bursting into laughter. The supporting roles of Scarlett Johansson
as Natasha Romanoff/Black Widow and Jeremy Renner as Clint Barton/Hawkeye are solid, without taking too much of the

spotlight away from the four legendary superheroes.

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Andrew Stanton's pricey sci-fi epic has picked up in tracking and could cross $30 million; Eddie Murphy comedy "A Thousand Words" eyes muted bow.
 
Andrew Stanton'sJohn Carter could now open north of $30 million at the domestic box office this weekend, but that's
likely not enough to put Disney's $250 million-plus sci-fi epic on solid ground financially. Nor may it be enough to wrest
the weekend crown from holdover Dr. Seuss' The Lorax, which opened to a stellar $70.2 million last weekend. The Universal
and Illumination Entertainment film is expected to gross $35 million to $40 million in its second outing, putting its
domestic cume north of $100 million in just 10 days.
 
The other big question mark is John Carter's international potential. Often, a 3D Hollywood tentpole that underperforms
domestically can make up ground overseas. John Carter -- headlining Taylor Kitsch as a Civil War hero transported to Mars
-- opens this weekend in virtually every foreign territory save China and Japan. It bows next week in China and in Japan
on April 13.
 
John Carter needs to do substantial business worldwide to make up for its $250 million-plus budget.
The movie will play in select midnight runs Thursday before upping its North American theater count Friday to north of
3,500, including 290 Imax screens. Fanboys are huge fans of Imax, so John Carter should do especially well in those
locations.
 
According to tracking, older males are by far the most interested in seeing John Carter, which marks Stanton's live-action
directorial debut after turning out Pixar hits including Finding Nemo and WALL-E. Younger men are the second-most
interested demo, followed by younger females and older females.
 
Tracking has improved slightly across all demos on the eve of the film's release, but box-office observers still believe

the film will have a hard time opening much north of $30 million.

Relativity's reimagining of the Snow White tale led by Julia Roberts and Lily Collins is receiving lukewarm reviews
from film critics.
 
 
"Mirror Mirror" Vs. 'Snow White': Anatomy of a Smackdown
 
Mirror Mirror is on track to score in the $20 million-plus range at the domestic box office in its opening weekend,
good enough for third place. But did the first of two Snow White projects to hit the movie theaters (the other being
Universal's Snow White and the Huntsman) win over the critics? Relativity's Mirror Mirror is a reimagining of the Brothers
Grimm tale of Snow White. Starring Julia Roberts, Lily Collins, Armie Hammer and Nathan Lane, the story follows a queen
who eyes control of Snow White's throne and desires the attention of Prince Charming.
 
With a 50 percent score on RottenTomatoes, Mirror Mirror hasn't exactly received glowing reviews. Many film critics,
in fact, have highlighted a few glaring issues with the 95-minute fantasy-comedy.The Hollywood Reporter 's David Rooney
called the pairing of Relativity's revisionist Snow White film and Singh "unexpected," saying that the "pairing of
director and material that is no less perplexing even after sitting through this mishmash." And though the movie banked
on Julia Roberts as the Evil Queen, it was Singh's weakness at narrative storytelling that shined through.
"In The Cell and Immortals, character and plotting come a distant second to the director’s elaborate visual aesthetic,
" he wrote, referencing Singh's previous projects. "But old-fashioned storytelling skills are paramount in any fairytale.
" In the end, Rooney concluded: "The impression is that of a director constantly fighting to put his stamp on material
that’s foreign to him, and unable to figure out what that stamp should be."
 
 
First Look at Relativity's 'Mirror Mirror'
 
 
Chicago Sun-Times film critic Roger Ebert criticized  the lack of life in the dialogue for the movie: "The dialogue is
rather flat, the movie sort of boring, and there's not much energy in the two places it should really be felt: Between
the Queen and Snow White, and between Snow and the Prince."
 
The Los Angeles Times' Sheri Linden wrote  that Mirror Mirror is a "visually inventive interpretation" of the classic
fairytale, "without shortchanging the requisite froufrou or sugarcoating the story's dark Oedipal heart." Though she did
agree in saying that the film, intended for the family crowd, "can be choppy, but the fable zings along on the sharp
comic timing of the cast, led by a royally wicked Julia Roberts."
 
Linden also called upon Tarsem's knack for visuals to be a crutch, echoing Rooney's point: "Singh (a.k.a. Tarsem Singh
Dhandwar or simply Tarsem) is a fantasist whose singular knack for spectacle can also be his weakness, set-piece razzle-dazzle
not infrequently overwhelming the characters in his previous films."
 
The New York Times' Manohla Dargis held a similar viewpoin t on the movie, writing, "while Mr. Singh knows how to make
performers and sets look good, he has trouble putting them into vibrant, kinetic, meaningful play, which effectively
means that he’s a better window dresser than a movie director." She did give the director some credit in entertaining
audiences with something to look at on the big screen: "Mirror Mirror is consistently watchable, even when it drifts
into dullness because Mr. Singh always gives you something to look at, whether it’s the Queen’s blood-red gown, the

sailing clouds decorating her bedroom or the dwarfs’ woodland home.