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From boxofficemojo.com

Sequels Dominate as Denzel's 'Equalizer 2' Edges Out 'Mamma Mia!' Sequel at Top of Box Office
A different kind of record was set this weekend in that it was the first weekend ever where eight of the top ten films at the weekend box office were sequels. Of those eight, two of the weekend's new follow-up films are locked in a tight race at the top with Sony's The Equalizer 2 pulling off a surprise upset, edging out Universal's Mamma Mia! Here We Go Again, which looked as if it might top $40 million at one point over the weekend, but settled down well below that mark. Overall, the wee...

Sequels Dominate as Denzel's 'Equalizer 2' Edges Out 'Mamma Mia!' Sequel at Top of Box Office
A different kind of record was set this weekend in that it was the first weekend ever where eight of the top ten films at the weekend box office were sequels. Of those eight, two of the weekend's new follow-up films are locked in a tight race at the top with Sony's The Equalizer 2 pulling off a surprise upset, edging out Universal's Mamma Mia! Here We Go Again, which looked as if it might top $40 million at one point over the weekend, but settled down well below that mark. Overall, the wee...


A Solid Redefinition of the Horror Flick
A review of 28 Days Later ...
by Matt Mason

Don't get me wrong, it's still a horror flick, with zombies eating the hell out of you, but it's a big leap from scary movies which are scary only because the door keeps opening as the music swells only to be that annoying pet again.

Director: Danny Boyle

Stars: Cillian Murphy, Naomie Harris, Noah Huntley, Brendan Gleeson, Megan Burns

Rating: R

Release: 06-27-2003

Time: 112 minutes

Buy Movie at Amazon.com No, in this movie, if the door opens as the music swells, ain't nothing cute about it, it's a freaking zombie what wants to eat your face to a bloody pulp.

Basically, England gets overrun by a genetically engineered virus called Rage which, maybe a minute after exposure to infected blood (which the infected spew out of their mouths pretty liberally) turns the victim into a twitching, angry track star who'll chase your butt down and bite you bad.

The hero, then, is a guy waking from a coma in a locked hospital room trying to figure out why the city appears to be empty.

The whole thing is shot on digital video, giving it a more alarming home video like look, and the scenes of starkly empty London streets are haunting.

The movie, then, takes its time, letting suspense authentically build in a way far scarier than any roller coaster scarefest manipulating screams out of you. This one doesn't go out of its way to be scary, it just is.