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- Story=A woman seeks revenge against those who orchestrated a plane crash that killed her family
- Writed by=Mark Burnell
- User ratings=5,8 of 10 Stars
- actors=Richard Brake
- Duration=1 Hours 49 minute
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The rhythm section - cam trailer. The rhythm section 2020. The rhythm section showtimes. The rhythm section wiki. The rhythm section mark burnell. The Rhythm Section English Full Movie Mojo Watch Online Pirate Bay The Rhythm Section…. The rhythm section tv spot. The rhythm section where did you sleep last night. Director Reed Morano isn’t interested in delivering what we’ve seen before, or hitting the comfortable beats of what has come to define the espionage-action film. The Rhythm Section, written by Mark Burnell, who also penned the novel of the same name, had all the makings of a new spy franchise for Paramount and EON Productions, the producers behind the enduring Mission: Impossible and James Bond series, respectively. With three other books in the series, a modest production budget of $50 million, a stellar performance from Lively and a woman in the director’s chair, The Rhythm Section seemed like the perfect opportunity for those who have been making noise for the past several years about the next Bond being a woman and calling for new heroines unconnected to comic book IP. Yet the critical score for the film on Rotten Tomatoes sits at 32 percent, and it took in a dismal $2. 8 million over opening weekend. Neither the critical thrashing the film received nor the lack of box office support from audiences is deserved. But both are reminders that for as much as critics and audiences tend to want stories that are new and break the rules, they seem to reject the films that do so at a frequency that’s nothing short of alarming. We’ve come to expect the spy film to be sleek and sexy, populated with gadgets, physics-defying car chases, expertly choreographed combat, and as much sex appeal as can be squeezed into a PG-13 movie. The genre has typically been male dominated, and even the female-led films La Femme Nikita (1990), The Long Kiss Goodnight (1996), Salt (2010) and Atomic Blonde (2017) are often only validated by how much they share with James Bond, Ethan Hunt, Jason Bourne and John Wick. One of the most prevalent criticisms about The Rhythm Section is its pacing, which, quite deliberately, follows its own rhythm. For as often as Hollywood espionage films are dominated by fast-paced sequences that make long run times forgiving with carefully structured action and set pieces, the genre is just as defined by ex-MI6 agent and The Night Manager author John le Carre and his psychological and morally ambiguous protagonists as it is by the bombastic wish fulfillment of Ian Fleming's 007. The Rhythm Section is far more interested in Stephanie’s internal and moral struggles than it is in positioning her as a one of a kind badass. Familiar elements of the espionage movie are introduced in the film and then turned on their head. Stephanie’s training gives her just enough to get by, and her fighting skills are unrefined and ugly. Her arsenal is simple, with gadgets consisting of nothing fancier than an inhaler with a disorienting gas and a knife disguised as a hairbrush, neither of which get proper use. Her sex appeal is used as a means of transaction, no sexier than that of her former life as a prostitute. And the film’s car chase is one of collateral damage, close calls, and not a single smooth turn in sight. Even Stephanie’s missions are largely botched incidents she barely makes it out of alive. There’s nothing sleek or sexy about the spy game in The Rhythm Section; every aspect of Stephanie’s mission goes to show just how grueling and brutal this occupation is. While the moral complexities, pacing and R rating put Morano’s film in conversation with another unfairly dismissed spy film, Red Sparrow (2018), Stephanie’s mission and skill set is even further stripped of glamour than the world of that film. The Rhythm Section is the Blue Ruin of espionage films. Jeremy Saulnier’s film scraped the revenge film down its bones, offering insight into just how hard getting vengeance is, and just how much effort, time and ugliness it takes to kill a man. The Rhythm Section, in its deconstruction of the spy film, exists in a similar head space, one that doesn’t promise glory, satisfaction or heroism, only hurt. Producer Barbra Broccoli, along with her brother Michael G. Wilson, has been associated with the Bond franchise all her life. Her father, Albert R. “Cubby” Broccoli, was the man responsible for bringing Bond to the screen with Dr. No (1962). This is all to say that she knows the character better than anyone, and the spy genre is in her blood. When asked about the possibility of a female Bond in October 2018, Broccoli said, “He’s a male character. He was written as a male, and I think he’ll probably stay as a male. And that’s fine. We don’t have to turn male characters into women. Let’s just create more female characters and make the story fit those female characters. ” These comments, naturally, sparked some debate, but most agreed with Broccoli’s sentiments. Yet here we are, a little over a year later, and we have our female spy character, produced by Broccoli and Wilson in a film that doesn’t position the character as a Bond knock-off, but one with her own agency and unique window into the world of M16, and it seems few care. The problem with The Rhythm Section isn’t quality, and despite reviews that seem all too eager to dismiss what’s at hand, plenty of films have overcome the tomato splats to become box office success stories. While the film beats to its own drum, it’s plagued by the same issue that plagued The Long Kiss Goodnight, Salt, Atomic Blonde, and Red Sparrow and suffocated their franchise potential. None of these characters are based on popular IP or can be evaluated in the context of a beloved franchise. There’s little doubt that Black Widow will be a success in May, given that it has Marvel Cinematic Universe behind it and thus the investment of critics and audiences. And if Bond were to be a woman in the future, there’s little doubt that despite the raging from social media that would happen beforehand, people would see it. It’s even worth a wager that if Moneypenny (Naomie Harris) or Nomi ( Lashana Lynch) received spin-offs following No Time to Die, they would fare much better than The Rhythm Section. Inevitably, when the year reaches its end and discussions about a Black Widow sequel emerge, with the usual suspects complaining about a lack of new IP, and when the search for a new Bond begins, and the think pieces start suggesting the best actresses for the role, and when Hollywood doesn’t see a reason to greenlight theatrical mid-budget action movies with women that aren’t based on comic characters, think back on The Rhythm Section, think back on Red Sparrow, and think back on Atomic Blonde. We see the same lack of enthusiasm for new characters and new perspectives every year, despite the noise that suggests otherwise, and we’ll likely see it again and find ourselves having this same discussion. The Rhythm Section was left in the cold, and still, the beat goes on.
| Christy Lemire January 31, 2020 Blake Lively gives it her all in “The Rhythm Section, ” but the movie only meets her halfway. The glamorous star gets grungy for the role of Stephanie Patrick, an ordinary young woman who transforms herself into an international assassin to avenge the killing of her family. Lively previously has shown a yearning not only for this kind of darker material, as in her standout supporting role in Ben Affleck ’s “ The Town, ” but also for the physical demands of an action film, as she did so convincingly while fighting off a great white shark in the minimalist thriller “ The Shallows. ” Advertisement She’s deeply committed and down for everything “The Rhythm Section” throws her way, often quite literally. But despite some impressively inventive camerawork from cinematographer-turned-director Reed Morano (“The Handmaid’s Tale, ” “I Think We’re Alone Now”) and a couple of intense action sequences, the film as a whole feels rushed and frustratingly empty. Although writer Mark Burnell adapted the screenplay from his 1999 novel of the same name, the story seems truncated; it’s as if he understandably wanted to include as much as possible from his source material, yet still had to work within the constraints of a reasonable running time. Giant leaps take place in terms of time and emotion, leaving us behind in confusion and rendering the human connections hollow and baffling. Lively’s British accent is a bit spotty but she makes a strong impression from the start, when her character is at her lowest. It’s been three years since Stephanie’s father, mother, sister and brother died in a plane crash—a flight she was meant to take, as well. Now, she numbs the unimaginable pain with drugs and feeds her habit by working as a prostitute at a London brothel. Morano intercuts increasingly tight close-ups of Stephanie’s face—her shaggy hair, tear-stained cheeks and swollen eyes—with snippets of brightly lit flashbacks to happier times with her family, underscoring the shocking nature of her decay. When an investigative journalist (Raza Jeffrey) tracks her down and tells her the crash was no accident but rather an act of terrorism, it lights a fire under Stephanie to take back her life by taking out the killer. “The Rhythm Section” comes from James Bond producers Michael G. Wilson and Barbara Broccoli, and it features the kind of globetrotting, espionage and tangles with an international array of bad guys you’d expect from a 007 movie. Stephanie travels from London to Northern Scotland, Madrid, New York, Tangiers and Marseille in her pursuit of justice with a variety of wigs and identities at her disposal. But the film is trying to do something different in making Stephanie’s stumbles a central part of her character. She’s not slick, she’s frequently in over her head and her missions don’t always go as planned. In fact, they never do. Lively’s vulnerability is as compelling as her raw combat skills, and Morano’s female gaze is clear-eyed rather than ogling. But somewhere along the way, Stephanie becomes too enigmatic, despite the fact that she’s on screen nearly the entire time. We know very little about who she was before the tragedy, which was by design, but even a smidgen more backstory would have made the dangerous path she forges somewhat more plausible. When the exiled MI6 agent who’d been the journalist’s informant takes her in and trains her, it makes sense, although Jude Law is solid as the gruff character known only as B. Eventually, there’s a passing reference in the script to the fact that she’s spent months with this guy at his remote hideout at the edge of a Scottish loch, yet there’s little indication that they’ve formed the kind of emotional connection that would result from that kind of intense, intimate time together. And yet a pivotal fight training scene in B’s cramped kitchen—shot in a single take—is riveting because it’s so flailing and imperfect, and because there’s nowhere to hide. Lively’s demeanor has morphed from that of a wounded animal to a scrappy predator. Later, Morano’s claustrophobic depiction of a car chase through the narrow streets of Tangiers, with cinematographer Sean Bobbitt (“ 12 Years a Slave ”) inside the vehicle, also provides a visceral jolt. Stephanie also meets up in Madrid with Sterling K. Brown ’s character, a former CIA officer who now sells the intel he gleans to the highest bidder. He’s a crucial figure in her quest, but their relationship develops in ways that are both entirely unbelievable and narratively predictable. As charismatic as Lively and Brown are individually, they aren’t afforded the opportunity to establish any real chemistry with each other. And an interlude with an arrogant and wealthy bad guy ( Max Casella) who also played a key role in the airplane attack raises way more questions than it answers. That scene is a prime example of the film’s clangy tendency toward on-the-nose needle drops to comment on the action and set the mood. As Stephanie struts down Central Park West in a disguise, stalking her prey, we hear the ironic strains of the Brenda Lee classic “I’m Sorry”; later, as Stephanie closes in on her ultimate target, Elvis Presley ’s “It’s Now or Never” plays. The title itself refers to a technique B teaches Stephanie to help her calm down and regain control during moments of panic: “Your heart is the drums, your breathing is the bass, ” he says. “The Rhythm Section” itself could have used a little bit of soul. Reveal Comments comments powered by.
The rhythm section trailer. Watch The Rhythm Section movie telugu "trailer"2018"full"movie The'Rhythm'Section'Look'here…. The rhythm section 2019. The rhythm section imdb. The rhythm section film. The rhythm section nirvana. Blake Lively in 'The Rhythm Section' Paramount and EON Blake Lively’s The Rhythm Section opened with $2. 8 million over the weekend in 3, 049 theaters. That’s the worst debut for any movie from any studio opening in more than 3, 000 theaters, and the eighth-worst debut for a film opening on at least 2, 500 screens and Paramount’s second-worst debut (behind Action Point ’s $2. 3 million opening in 2018) for a movie on more than 2, 000 screens. As for why, well, it would appear that audiences preferred Lively as a star in rousing genre flicks or unapologetic melodramas as opposed to gritty action movies. Patrick Swayze would have related, as he had far more luck with Dirty Dancing and Ghost than with Road House, Next of Kin or Point Break. But I would argue a major reason why it stumbled was that it was aggressively depressing. I liked the $50 million EON Productions film more than my peers. However, all of the reviews, positive and negative, noted that the picture was not a glossy and polished “bad-ass” female-led action movie, but rather a grim and pessimistic drama with just enough action beats for a trailer. Paramount understandably tried to sell the movie as “Blake Lively does Taken, ” but even the first trailer couldn’t hide the gritty, claustrophobic and downbeat story being told. Whether or not Paramount wanted Atomic Blonde and ended up with Death Wish, the movie was doomed as soon as the first trailer dropped. As challenging as it is to get audiences to show up in theaters for original and/or star+concept studio programmers, it’s nigh impossible if the movie being sold looks like a major bummer. The second trailer tried to hide what the Reed Morano-directed adaptation of Mark Burnell’s 2000 novel (with the screenplay penned by Burnell himself), as the second preview emphasized a brief section where Jude Law’s off-the-grid spy reluctantly teaches Lively’s traumatized victim (her family was killed in a terrorist plane crash three years earlier) how to take her revenge. The moments where she hits the target or briefly gets the upper hand on her teacher are the closest thing the movie has to “empowerment” moments. If you’ve seen the movie, or read reviews that discussed the movie, you’ll know that the gimmick is that Lively’s character is pretty terrible at the whole action hero thing. She’s hopelessly outmatched in the fights, shoot-outs and chases, a novel choice that only adds to the suspense and tension. While The Rhythm Section subverts the “strong, bad ass female character” cliché, it also denies audiences Atomic Blonde / Wonder Woman -style thrills that moviegoers probably wanted to see and B) would have made the film more commercial. It’s challenging to get audiences to show up for an unknown cinematic entity when the presumption is that it won’t provide escapism. That’s doubly true for films for/about women and minorities, since the world is already terrible for many “not a white male” moviegoers. It’s partially why Girls Trip, Ocean’s 8 and Mamma Mia! : Here We Go Again (conflict-lite party flicks) were big hits while Snatched (mom and daughter kidnapped by slavers while overseas), Rough Night (women trying to save their skins after a murderous bachelorette party) and grim crime melodramas like Widows and The Kitchen were not. I’ve occasionally referred to Ford v Ferrari as Mamma Mia for dudes, and that’s not an insult. Both films provide polished and unapologetic escapism and comparatively little in the way of real-world politics or conflict. Movies that confronted toxic masculinity ( Ad Astra, Stuber, The Art of Self Defense, even THE LEGO Movie 2) struggled to break out while Good Boys, which merely presented kids who weren’t jerks and were unfazed by changing social mores, flourished. Yesterday was pure fantasy escapism with (for better or worse) race-blind casting but Blinded by the Light was intrinsically rooted in politically volatile and often terrifying immigrant experience. Knives Out marketed itself as an apolitical mystery, but its tone was breezy and light enough that its real-world topicality didn’t harsh viewers’ vibes. While Rhythm Section wasn’t political, it wasn’t remotely a good time. I’m expecting Cathy Yan and Christina Hodson’s Birds of Prey to break out this week partially because it’s been sold as a bubbly, escapist party movie for women old enough to see an R-rated action comedy. The Rhythm Section, which could lose all parties around $30 million, had many challenges in our VOD/streaming theatrical environment, and I’m not surprised Paramount has considered releasing it straight-to-streaming overseas. But one huge obstacle was that it was a female-led action movie that subverted its genre, denied audiences what they might have wanted to see and operated as a 109-minute bummer. Warts and all, it’s a pretty good movie, and Blake Lively is (as usual) terrific as the “in nearly every frame” protagonist. But its chief commercial flaw was that it wasn’t an empowering action thriller but a defeatist passion play. Follow me on Twitter. Check out my website.
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The rhythm section movie release date. The Rhythm section 508. (CNN) "The Rhythm Section" can't quite get its act together. Featuring a solid performance by Blake Lively, it's not bad exactly, but plays like a malnourished Jason Bourne wannabe, crossed with the grittier side of "The Girl With the Dragon Tattoo. " The script was adapted by Mark Burnell from his own novel, and directed by Reed Morano, an Emmy winner for "The Handmaid's Tale. " The producers, meanwhile, preside over the James Bond franchise, a pedigree that's leveraged heavily in the film's ad campaign. The result, however, plays like a pallid version of the globetrotting spy thrillers with which we're accustomed, and limbos under the bar of what's expected in terms of action and suspense. The plot is the most basic of revenge yarns, with Lively playing Stephanie Patrick, a woman whose life was turned upside down by a plane crash that killed the rest of her family. When she's informed three years later by an investigative journalist (Raza Jaffrey) that the tragedy was no accident, but rather a terrorist strike, she embarks on a mission of vengeance, describing herself as someone who has "got nothing to lose. " Of course, she'll need help, and finds it, grudgingly, in a financial benefactor, and a former MI6 agent (Jude Law) who subjects her to the basic training -- a process that doesn't take that long but still feels too drawn out. Once in the field, Stephanie's exploits have a certain freshness because she's such novice at this sort of cloak-and-dagger fare that she makes a mess of things, and her early encounters are more brutal and raw -- and thus distinctive -- than the highly stylized and choreographed movie fights and chases with which we're familiar. Stephanie's pursuit of the perpetrators leads to an information broker (Sterling K. Brown), who seemingly points her in the right direction. As constructed, though, the various episodes have an arbitrary, willy-nilly feel to them, lurching from one deadly scenario to the next, instead of following a clear path. Lively's name is particularly ironic here, since she plays Stephanie -- a recovering addict -- as someone with a fidgety, hollow-eyed deadness inside her, seeking to kill those responsible without any expectation that extracting an eye for an eye will heal her wounded soul. The notion of an ordinary person thrust into such dire circumstances has a well-worn history, as Stephanie discover her capacity to inflict and endure pain along with the audience. There's also been a greater emphasis on building such vehicles around women, including recent examples like "Peppermint" and "Miss Bala, " starring Jennifer Garner and Gina Rodriguez, respectively. The title "The Rhythm Section" comes from the coaching Stephanie receives in her transformation, and finding the balance and calm to fulfill her mission. It's too bad that the movie isn't equally well tuned. "The Rhythm Section" premieres Jan. 31 in the US. It's rated R.
The rhythm section (2020. The rhythm section review. The Rhythm. The rhythm section trailer blake lively. January 29, 2020 9:00AM PT The plot may be boilerplate in this female-driven revenge thriller, but Blake Lively sells it, playing an action hero who fights like a real person: badly. It’s a wonder that Stephanie Patrick makes it to the end of “ The Rhythm Section ” alive. Normal people tend not to survive the kind of sophisticated revenge mission that snaps Stephanie out of her depression and into action-hero mode in Reed Morano ’s dark, broody and unexpectedly human payback thriller, which stars Blake Lively as a more-motivated-than-coordinated Post Traumatic Suffering Dispenser. Lest you fear any mention of her survival constitutes a spoiler, consider this: The movie was adapted from the first of four pulpy Stephanie Patrick novels written by Mark Burnell, so of course she doesn’t die. But she comes awfully close on several occasions, and her near-incompetence in the face of danger makes her relatable in ways very few cinematic assassins have ever been. Paramount is opening the movie in January, the month where Liam Neeson is typically the one to do this kind of dirty work. Lively is hardly the actor’s obvious substitute, though the character she plays — a rock-bottom junkie prostitute — absolutely convinces she has nothing to lose. Actually, since Burnell’s novel was optioned by Eon, the production company behind the James Bond franchise, some have wondered whether Stephanie Patrick’s supposed to be some kind of gender-flipped 007. (No, says Bond custodian Barbara Broccoli. ) From the very first scene, audiences should realize that they’re watching a very different type of character. In many ways, she’s even less like “Atomic Blonde, ” in which Charlize Theron’s meticulously choreographed, unerringly lethal fighting style is fun to watch but pure fantasy. Stephanie, by contrast, panics under pressure. She’s a bad shot, and an even worse driver. In hand-to-hand combat, she gets thrown around, battered and very nearly killed. Multiple times. The movie begins in Tangiers, where Stephanie has gone to eliminate one of the men responsible for the death of her family. (They died in an airplane bombing, and given the spectacle that might have provided, it’s a wonder the movie doesn’t start there. But then, Burnell adapted the novel himself, so he must have had his reasons. ) So, in the amuse bouche opener, Stephanie creeps into his home and points her gun at the back of his head. But she can’t bring herself to pull the trigger. Could you? “ The Rhythm Section ” features lots of terse, no-nonsense dialogue but some pretty corny voiceover — like the howler Lively’s obliged to recite to explain the film’s title. Standing there in silhouette, her weapon extended, Stephanie’s all jitters. But that’s a much more interesting way to approach her first hit anyway. The only person obliged to be a consummate professional here is Morano, a former DP who helmed the first three episodes of “The Handmaid’s Tale, ” effectively setting the tone for the hit Hulu series. This is her third feature, following tragedy-porn “Meadowland” and post-apocalyptic two-hander “I Think We’re Alone Now, ” and the assignment puts fresh demands on its director. Pulling it off means Morano’s obliged to think differently not only about action, but also about how she works with actors. This isn’t an easy role, but Lively aces it. Flashing back more than half a year earlier, the film finds Stephanie looking a lot worse for wear, with scars on her wrists and tears in her eyes. To erase the pain of the plane crash that claimed her parents’ lives, she turns tricks for smack in a squalid London flat. She’s scraping along rock bottom when an investigative reporter named Keith Proctor (Raza Jaffrey) shows up with inside information on the accident — which wasn’t an accident but an attack, he insists. According to Proctor, the authorities know who built the explosive device but have left him to walk the streets of London a free man. “Why did you come for me? ” Stephanie asks. Without missing a beat, Proctor replies, “Because you’re another victim. You’re just not dead yet. ” But a couple scenes later, Proctor’s dead, found with his throat slit in his own apartment. His flat has been art-directed to look like a serial killer’s inner sanctum, and snooping around, Stephanie manages to glean enough from his files to track down his most important source, a nameless ex-CIA operative ( Jude Law) with demons of his own. His damage is nothing compared with hers, however. Stephanie’s still addicted to drugs at this point, and Lively shows us what that looks like, twitching on top of all the trauma her character is already carrying. The psychology of how this once-promising college grad would transform herself first into such a trainwreck — all bruises and track marks, spiky hair and smoky eyes — and from there into an avenging badass is shaky, but Lively’s commitment sells it. Stephanie assumes the identity of a ruthless hitwoman, Petra Reuter (an excuse for wig changes and an attitude makeover), and reaches out to an information trafficker named Marc Serra (Sterling K. Brown) to identify the target we saw her about to eliminate in the opening scene. On paper, the rest of the film seems fairly routine: a series of setpieces against a revolving backdrop of glamorous international locations. We’ve seen it in movies like “Atomic Blonde, ” “Red Sparrow” and “La Femme Nikita. ” Those women are all sexy, self-confident killing machines. But what sets “The Rhythm Section” apart is the simple matter of identification. She’s not a natural. She freezes up, and can’t do what she was trained for. Instead of fighting, she flails wildly, hoping one of her kicks connects with her adversary’s crotch. When she gets hit, it looks like it hurts. And when her gun falls into the bad guy’s hands, she may as well be dead meat. In the end, it’s luck, not skill that keeps her alive. That’s how most of us would be in her situation. Moments later, in an impressively staged, single-take car chase, Stephanie/Petra nearly gets pushed off a cliff. And so it continues through the final showdown. It’s probably for the best that most action movies don’t unfold like this, where careful planning devolves to desperate innovation in the heat of the moment. But this is what’s meant by “visceral, ” and it works in this context — and must be an awful lot harder to pull off, behind the camera. Morano manages, and if Stephanie Patrick ever gets another big-screen mission, it’ll be interesting to see what this experience has taught her. After Netflix and Disney shuttered all live-action productions, Universal has decided to do the same with “Jurassic World: Dominion, ” “Flint Strong” and the untitled Billy Eichner project all going on hiatus effective Friday. The studio continues to monitor the situation closely and will make a determination on when to restart production in the coming weeks. [... ] “Mulan” fans in mainland China on Friday welcomed the news that Disney will postpone the global release of the new live-action blockbuster, happy that they’ll likely now get the chance to see the film in theaters in sync with the rest of the world. The new “Mulan” was scheduled to release worldwide outside of China, [... ] The Walt Disney Company is taking the edge off of “social distancing” from the coronavirus this weekend, by streaming the animated blockbuster “Frozen 2” three months ahead of schedule. Disney Plus aims to surprise families this Sunday with “some fun and joy during this challenging period, ” referring to the global pandemic of COVID-19, which on [... ] In today’s film news roundup, film festivals in San Franciso and Toronto are being canceled or postponed, the American Cinematheque stops screenings and veteran executive Jon Berg lands a new gig. FESTIVALS Two prominent mid-size film festivals in San Francisco and Toronto have joined the avalanche of cancellations and postponements due to the coronavirus pandemic. ] The Alamo Drafthouse chain has abruptly closed its theaters in Brooklyn and Yonkers amid the coronavirus epidemic. The chain made the announcement Friday night without disclosing any reasons. It said all tickets, including convenience fees and ticket add-ons, will be automatically refunded. “Until further notice, we are deeply sad to say that Alamo Drafthouse Brooklyn [... ] The AMC, Regal, Cineplex, Arclight and Alamo Drafthouse chains have imposed limits on sales as a safety precaution in response to the coronavirus pandemic. AMC Theatres, which has 661 locations in North America, and Regal Entertainment Group, which has 564, both announced Friday that will be reducing their maximum capacity by at least 50% due [... ] As the coronavirus pandemic brings moviegoing to a halt in multiple countries, it’s slowing down attendance at North American multiplexes. The openings for “I Still Believe, ” “Bloodshot” and “The Hunt” are all coming in below expectations. Disney-Pixar’s “Onward” is heading for a repeat victory at the box office with about $16 million at 4, 310 locations, [... ].
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