Box Office: Chris Pratt’s ‘Mercy’ Toppling ‘Avatar 3’ as a Brutal Winter Storm Threatens Moviegoing

Mercy me.

A big winter storm is hitting much of the U.S., and it’s making it hard for movies to do well at the box office.

 Many places are telling people to stay home. Because of this, total movie ticket sales are expected to be the lowest so far this year. It might also be the first time this weekend’s earnings are lower than the same weekend last year, which was in 2025.

This weekend’s top movie is "Mercy," a new thriller directed by Timur Bekmambetov.

 Chris Pratt plays a man on trial for killing his wife. In a creepy twist, he finds out his fate is decided by an AI judge. MGM Amazon Studios thinks the movie will make about $12.6 million, which is what people expected. Some hoped for closer to $15 million.

The storm isn’t the only thing hurting "Mercy."

 Critics haven’t given it a lot of praise, and people who saw it didn’t give it a great rating. The CinemaScore is a B-, which is not very good.

Still, "Mercy" has a special win.

 It’s the first movie to beat James Cameron’s "Avatar: Fire and Ash" after that film had been number one for five weekends. "Fire and Ash," from 20th Century Fox, is expected to make around $7 million, bringing its total U.S. earnings to about $380 million. Another big movie, "Zootopia 2," is still number three. It’s expected to make $6 million, helping it reach over $400 million in the U.S. And worldwide, it’s already made more than $1.7 billion.

Paul Feig’s movie "The Housemaid," starring Sydney Sweeney and Amanda Seyfried, is still doing well for Lionsgate.

 It’s number four in its sixth week, making about $6 million. The film is doing especially well with female audiences and has earned more than $250 million worldwide.

On the other hand, Nia DaCosta’s "28 Years Later: The Bone Temple" isn’t doing as well.

 It opened lower than expected during the MLK Holiday weekend and is now number five with an estimated $4.2 million. Its total U.S. earnings are just over $21 million.

There’s still a chance that movies can do better if they win major awards, but this trend has gotten smaller over time.

 Josh Safdie’s "Marty Supreme," which got nine top Oscar nominations, including best picture and best actor for Timothée Chalamet, is still doing well. It’s number six with around $3.5 million, which is a 35% drop from its opening. That’s the second-best drop in the top ten behind Chloé Zhao’s "Hamnet," another Oscar favorite that got eight nominations. "Hamnet" started in a few theaters in November and expanded to over 1,200 theaters this weekend, making about $1.8 million. It has a total of almost $18 million in the U.S.

Steven Spielberg and Sam Mendes are both supporting Zhao’s film in the awards season.

Another movie on the list is the 25th-anniversary re-release of Peter Jackson’s "The Lord of the Rings" trilogy.

 Warner Bros. and Fathom are running this event together, and they expect it to make around $14 million to $15 million.

Numbers will be updated on Sunday morning.

Riz Ahmed Wants to Be James Bond and Playfully Walks Out of Interview Over Jacob Elordi 007 Rumors: ‘I Don’t Mind Who Plays Bond as Long as It Is Me

Riz Ahmed takes on a role that feels like a James Bond movie, but with a twist, in Prime Video's new comedy series "Bait." The show had its world premiere on the opening night of the 2026 Sundance Film Festival and will be available to stream on Prime Video in March. Ahmed, who has been nominated for an Oscar, wrote and stars in the series as a struggling London actor who finds himself in a deep personal crisis after his audition for the next James Bond goes viral. He said the series is more about the idea of life being like an audition than about Bond himself.

During a Sundance interview with co-star Guz Kahn at the Variety Studio presented by Audible, Ahmed talked about how he had been keeping notes on the many contradictions in his own life.

 He explained that the show was inspired by the feeling that life is like one big audition, where people are constantly trying to prove themselves online, looking for approval from strangers. He wanted to make a show that explores this idea.

Bond is still on Ahmed's mind, though.

 The 007 franchise is currently going through a reboot, and Amazon, the studio behind "Bait," is involved. Ahmed joked, "Everyone has an audition for Bond. Daniel Craig’s was 'Layer Cake'... This is my audition for Bond. I dare anyone to watch this show and think we shouldn't play Bond."

Amazon's first James Bond movie is being directed by Denis Villeneuve, the filmmaker behind "Blade Runner 2049" and "Dune.

" It will be the first major Bond film since the end of Daniel Craig's era. The new Bond actor hasn't been announced yet, but a recent internet rumor suggests that "Euphoria" star and Oscar nominee Jacob Elordi might be in the running.

Ahmed said he didn't mind who played James Bond as long as it was him.

 He playfully stormed off the set when co-star Guz Kahn told him, "I think Jacob Elordi will be James Bond over Riz Ahmed."

On a more serious note, Ahmed added, "This show is not about Bond.

 James Bond in our show is a symbol of what my character wants to be, the ultra alpha-male. He just wants to be someone else, which so many of us want to be. That's the relatable part."

"Bait" will stream on Prime Video on March 25.

Netflix Postpones Alex Honnold’s ‘Skyscraper Live’ Climb Amid Dangerously Rainy Conditions in Taipei

Even the best climber in the world can't climb a wet skyscraper without ropes or a safety net.

Alex Honnold, a famous rock climber known for free solo climbing, was going to try to climb Taipei 101, one of the tallest buildings in Asia.

 The climb was planned for 9 a.m. local time on Saturday in Taipei, which is 8 p.m. ET on Friday. The event was going to be live-streamed globally as part of Netflix's new live sports show called Skyscraper Live.

But when the sun came up on Saturday, it was raining heavily in Taipei, and the city looked wet and messy.

 This made the climb look impossible.

About 30 minutes before Honnold was supposed to start climbing, Netflix announced the event would be postponed by one full day.

 They wanted better weather on Sunday. Netflix said the decision to delay was up to Honnold because his safety was the most important thing.

A Netflix representative told The Hollywood Reporter on Friday that they would check in with Honnold to see how he was feeling about the weather conditions.

By Saturday morning, it was clear that Honnold wasn't going to attempt the climb.

 The building was too slippery because of the rain and strong winds.

Grant Mansfield, a leader in the production team for Skyscraper Live, said they were ready for a good show, but the weather was a big problem.

 He explained that the building is easy to climb when it's dry, but when it's wet, it's extremely slippery. Even with ropes, Honnold couldn't do it.

Netflix announced the event had been moved to Saturday, January 24, at 8 p.m. ET or 5 p.m. PT.

 The company said safety was their top priority and thanked everyone for their understanding.

The event's delay shows how risky the climb is.

Even though Netflix is confident Honnold can climb safely, they decided to delay the live stream by 10 seconds.

 This was to protect young viewers from seeing anything dangerous in case something went wrong.

Jonathan Mussman, a Netflix executive, explained that they wanted to be responsible and make sure no one saw something terrible.

Climbing experts and Honnold himself say that the structure of Taipei 101 is simpler than many of his other climbs, like El Capitan in Yosemite, which was shown in the movie Free Solo.

 But the building is extremely tall, making the climb like a vertical marathon.

Honnold said buildings are steeper than rock faces, and the challenge comes from the physical strain over the long climb.

 He isn't sure how it will feel until he tries it.

Honnold has been practicing on Taipei 101 with ropes this week, and people in the office have watched him climb past their windows.

Before the event was postponed, there was a lot of excitement in Taipei.

 The building's walls were lit up with lights saying "Go Alex!" on Friday night.

People were expected to gather in large numbers to watch the climb, but on Saturday, the area was quiet because of the bad weather.

 Honnold's fans were hoping for good weather so they could see the event.

Carousel Review: Chris Pine and Jenny Slate Overcome an Unsure Start to Dig Deep Into Love, Loneliness and Fear in Intimate Drama

 Chris Pine and Jenny Slate shine in *Carousel*, delivering such strong performances that you wonder why we don’t see actors like them tackle more complex and meaningful roles. Rachel Lambert’s latest film is a unique and enchanting relationship story. It takes some time to get going, but it ultimately grabs you in a meaningful way. However, the director needs to step back a bit. Her style, while interesting, can feel overly complicated and self-indulgent. She uses a lot of background music that can be distracting, especially in the beginning. The music is meant to represent the cycle of life, like the ups and downs of a merry-go-round, but it feels a bit cliché for a film this smart and thoughtful.

*Carousel*  

**The Bottom Line**  

It takes its time but sneaks up on you.

**Venue:** Sundance Film Festival (U.S. Dramatic Competition)  

**Cast:** Chris Pine, Jenny Slate, Abby Ryder Fortson, Sam Waterston, Katey Sagal, Helene York, Dagmara Domincyzk, Jessica Harper, Jeffrey DeMunn, Tien Tran  

**Director-screenwriter:** Rachel Lambert  

**Runtime:** 1 hour 45 minutes  

Early in the film, there are moments that really pull you in, especially between Noah (Pine), a doctor in Cleveland with a small family clinic, and his teenage daughter Maya (Abby Ryder Fortson).

 One scene shows Noah dropping Maya off at school, and she has a panic attack after realizing she forgot important papers. Lambert quickly introduces us to Maya’s struggles with anxiety and depression. Noah tries to support her but keeps his feelings to himself, as if hoping the problem will go away on its own. His quiet approach is deeply moving.

It’s not until the middle of the film, during a long and intense conversation between Noah and Maya’s teacher and debate coach, Rebecca (Slate), that the film truly deepens.

 This scene takes place in a kitchen but is shot mostly from the next room, making it feel intimate and realistic. Noah and Rebecca move through anger, regret, and self-doubt, and it’s clear this conversation changes everything. From there, the film never looks back.

Noah and Rebecca were once a couple in high school, but their relationship ended in bitterness when Rebecca left Cleveland to pursue a political career and Noah stayed to build a family.

 When they reconnect through Maya at a farmers market, they seem like strangers—except they both were in the same high school play. But when they’re alone together, it’s clear there’s still a strong connection between them, along with unresolved emotions.

Noah is dealing with the pain of his recent divorce from Maya’s mother, the loss of his mentor at the clinic, and the grief of losing his father.

 He pushes these problems aside to support Maya, but a relationship with Rebecca feels overwhelming. When Maya is away for a summer program, Noah breaks down, physically unable to move or even leave the airport for days.

Rebecca has her own issues—her aging parents, a friend who worries she’s worked too hard in politics to end up teaching high school, and a complicated past with Noah.

 Despite all this, the love between Noah and Rebecca is never in doubt. The film shows how people build emotional walls to protect themselves from the messiness of relationships, but it also shows the importance of taking risks and being open to love.

The film ends with a quiet, beautiful scene that leaves a lasting impression.

 It’s a fitting conclusion that balances melancholy with hope. The film is shot in a soft, intimate style using 35mm film and a boxy aspect ratio, enhancing the emotional depth. Lambert is deeply observant of the small details that shape how people connect. Returning to the theme of solitude after *Sometimes I Think About Death*, the film is flawed and requires patience, but it’s ultimately rewarding thanks to the powerful performances of Pine, Slate, and Fortson. Pine has never shown so much emotional depth and sorrow, while Slate’s character slowly reveals a longing that challenges her choices. Fortson, who impressed in *Are You There God? It’s Me, Margaret*, is growing into a talented actor with both heartbreak and strength.

‘Sinners’ Costume Designer Ruth E. Carter Becomes Most-Nominated Black Woman in Oscar History

 Ruth E. Carter keeps breaking records for Black women at the Oscars.

The famous artist got her fifth Oscar nomination for best costume design for her work in Ryan Coogler's movie "Sinners."

 This nomination makes her the most-nominated Black woman in Oscar history, no matter which category you look at.

In the costume design category, Carter was up against Deborah L. Scott for "Avatar: Fire and Ash," Kate Hawley for "Frankenstein," Malgosia Turzanska for "Hamnet," and Miyako Belizzi for "Marty Supreme."

Before this nomination, she was tied with Viola Davis, who has won an Oscar, for four nominations.

 Now, she is tied with Spike Lee and Morgan Freeman for being the third most-nominated Black creative person overall, behind Quincy Jones and Denzel Washington.

Carter played a big part in a special nominations day for "Sinners," which got the most Oscar nods ever—16.

 Some of those nods were for acting, including Michael B. Jordan, Delroy Lindo, and Wunmi Mosaku.

Other historic nominations include Ryan Coogler being the second Black filmmaker to be nominated in the same year for producing, directing, and writing the screenplay.

 This follows Jordan Peele's achievement for "Get Out" in 2017. Coogler is also the seventh Black director to get a best director nomination. His fellow producer, Zinzi Coogler, is the first Filipina producer and the third Black woman nominated for best picture. She and Ryan Coogler are also the first Black married couple to be nominated together in this category.

Cinematographer Autumn Durald Arkapaw made history as the first woman of color to be nominated for cinematography.

 Production designer Hannah Beachler, who won an Oscar for her work on "Black Panther" in 2018, got her second nomination and is the only Black woman ever recognized in that category.

In 2019, Carter became the first Black person to win an Oscar for costume design for her work on "Black Panther."

 She was also nominated and won for the sequel "Wakanda Forever" in 2022. She is the only Black woman to win an Oscar more than once. She has also been nominated for "Malcolm X" in 1992 and "Amistad" in 1997.

Since the Oscars started in 1929, more than 3,100 statuettes have been given out, but only 20 are owned by Black women—about 0.006%.

Final Oscar voting will happen from February 26 to March 5.

 The 98th Oscars will be held on March 15 and will be broadcast on ABC, hosted by Conan O'Brien.

In Cold Light Movie

In Cold Light

2025 | R | 1h 36m

Genre: Action, Crime, Drama, Thriller

Release date

January 23, 2026 (United States)

Directed by Maxime Giroux

Written by Patrick Whistler

Produced by

Yanick Létourneau

Mike MacMillan

Cast

Maika Monroe

Troy Kotsur

Helen Hunt

Allan Hawco

Cinematography Sara Mishara

Edited by Mathieu Bouchard-Malo

Music by Philippe Brault

Production

companies

Périphéria

Lithium Studios

Distributed by Elevation Pictures

Release dates

June 7, 2025 (Tribeca)

February 27, 2026 (Canada)

Running time

97 minutes

Country

Canada

Language

English

The Dreamer Cinderella Movie

The Dreamer Cinderella

2026 | 1h 34m

Genre: Drama, Romance, Comedy

Release Date: 23, Jan, 2026

Directors

Jose-Luis RuizAlfredo Widman

Writer

Jose-Luis Ruiz

Cast

Tara Reid

Paul Johansson

Marie Elizabeth DeWitt

Producers

Victoria del Rosal

executive producer

Moctesuma Esparza

executive producer

Tara Reid

executive producer

Jose-Luis Ruiz

executive producer

Alfredo Widman

produced by

Composer

Sid De La Cruz

Cinematographer

Luis Adrian Lara

director of photography

Casting Department

Christian Rodrigo

Casting Director

Music Department

Sid De La Cruz

guitar

Janine Stefani Rivera

lyricist

Jose-Luis Ruiz

executive producer / lyricist