DOCSLIB.ORG

All Time Highest Grossing Movies Worldwide the Chart Below Contains Figures for All 188 Movies to Make Over $250 Million Globally

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
All Time Highest Grossing Movies Worldwide the Chart Below Contains Figures for All 188 Movies to Make Over $250 Million Globally All Time Highest Grossing Movies Worldwide The chart below contains figures for all 188 movies to make over $250 million globally. This table is updated each week. Note: This chart is not adjusted for inflation. Released Film Name Total Box Office 1 1997 Titanic $1,835,400,000 2 2003 Lord of the Rings: The Return of the King $1,117,602,779 3 2001 Harry Potter and the Sorcerer's Stone $975,800,000 4 1999 Star Wars: Phantom Menace $925,600,000 5 2002 Lord of the Rings: The Two Towers $924,291,552 6 1993 Jurassic Park $920,100,000 7 2004 Shrek 2 $901,021,703 8 2002 Harry Potter and the Chamber of Secrets $869,400,000 9 2001 Lord of the Rings: The Fellowship of the Ring $867,683,093 10 2003 Finding Nemo $844,400,000 11 2002 Spider-Man $821,700,000 12 1996 Independence Day $813,200,000 13 1977 Star Wars $797,900,000 14 2004 Harry Potter and the Prisoner of Azkaban $789,509,413 15 2004 Spider-Man 2 $777,124,485 16 1982 ET: The Extra-Terrestrial $775,913,554 17 1994 Lion King, The $767,900,000 18 2003 Matrix Reloaded, The $727,400,000 19 1994 Forrest Gump $679,400,000 20 1999 Sixth Sense, The $672,800,000 21 2003 Pirates of the Caribbean: The Curse of the Black Pearl $652,102,724 22 2002 Star Wars: Attack of the Clones $648,200,000 23 2004 Incredibles, The $626,610,938 24 1997 Lost World: Jurassic Park $614,300,000 25 2004 Passion of the Christ, The $609,717,614 26 1997 Men in Black $587,800,000 27 1983 Return of the Jedi $572,700,000 28 1998 Armageddon $554,600,000 29 2000 Mission: Impossible 2 $545,547,560 30 2004 Day After Tomorrow, The $542,140,799 31 1980 Empire Strikes Back, The $534,200,000 32 1990 Home Alone $533,700,000 33 2001 Monsters, Inc. $523,100,000 34 1990 Ghost $517,600,000 35 1991 Terminator 2: Judgement Day $516,800,000 36 1992 Aladdin $501,900,000 37 1996 Twister $495,900,000 38 1989 Indiana Jones and the Last Crusade $494,700,000 39 2004 Troy $490,954,843 40 1999 Toy Story 2 $485,800,000 41 2001 Shrek $481,900,000 42 1998 Saving Private Ryan $480,000,000 43 1975 Jaws $470,600,000 44 1996 Mission: Impossible $467,000,000 45 1990 Pretty Woman $463,400,000 46 2000 Gladiator $457,200,000 47 1999 Matrix, The $456,500,000 48 2002 Die Another Day $456,000,000 49 2003 Last Samurai, The $455,110,575 50 2001 Pearl Harbor $450,500,000 51 1999 Tarzan $447,100,000 52 2001 Ocean's Eleven $446,800,000 53 2002 Men in Black 2 $440,200,000 54 1993 Mrs. Doubtfire $440,000,000 55 2004 Meet the Fockers $439,221,932 56 2001 Mummy Returns, The $430,000,000 57 2003 Terminator 3: Rise of the Machines $427,348,963 58 2000 Cast Away $427,230,516 59 2003 Bruce Almighty $426,800,000 60 1990 Dances with Wolves $424,200,000 61 2003 Matrix Revolutions, The $424,059,850 62 1999 Mummy, The $413,500,000 63 1989 Batman $413,200,000 64 1988 Rain Man $412,800,000 65 1992 Bodyguard, The $410,900,000 66 2002 Signs $407,900,000 67 2003 X2: X-Men United $404,500,000 68 1973 Exorcist, The $402,500,000 69 1939 Gone with the Wind $390,525,192 70 1991 Robin Hood: Prince of Thieves $390,500,000 71 1999 World is Not Enough, The $390,000,000 72 1981 Raiders of the Lost Ark $383,900,000 73 1978 Grease $379,790,306 74 1991 Beauty and the Beast $378,000,000 75 1998 Godzilla $376,000,000 76 2002 Ice Age $375,600,000 77 2000 What Women Want $372,100,000 78 1993 Fugitive, The $368,900,000 79 2001 Jurassic Park 3 $365,900,000 80 1994 True Lies $365,300,000 81 1995 Die Hard: With a Vengeance $365,000,000 82 1999 Notting Hill $363,100,000 83 1998 There's Something About Mary $360,100,000 84 2001 Planet of the Apes (2001) $359,100,000 85 1994 Flintstones, The $358,500,000 86 1998 Bug's Life, A $358,000,000 87 1995 Toy Story $356,800,000 88 2000 Dinosaur $356,148,063 89 2002 My Big Fat Greek Wedding $353,900,000 90 1995 Goldeneye $353,400,000 91 1992 Basic Instinct $352,700,000 92 2004 Ocean's Twelve $352,393,773 93 1988 Who Framed Roger Rabbit? $351,500,000 94 1985 Back to the Future $350,609,762 95 2001 Hannibal $350,100,000 96 1998 Deep Impact $348,600,000 97 2001 Rush Hour 2 $347,400,000 98 1995 Pocahontas $347,100,000 99 1999 American Beauty $347,100,000 100 2004 I, Robot $346,701,023 101 1997 Tomorrow Never Dies $346,600,000 102 1986 Top Gun $344,700,000 103 1994 Mask, The $343,900,000 104 2002 Minority Report $342,000,000 105 2002 Catch Me if You Can $341,500,000 106 2000 How the Grinch Stole Christmas $340,400,000 107 1995 Batman Forever $335,000,000 108 1995 Apollo 13 $334,100,000 109 1984 Indiana Jones and the Temple of Doom $333,000,000 110 1989 Back to the Future II $332,000,000 111 1996 Rock, The $330,500,000 112 2000 Perfect Storm, The $328,711,434 113 1995 Se7en $328,125,643 114 1986 Crocodile Dundee $328,000,000 115 1996 Hunchback of Notre Dame, The $325,500,000 116 1993 Schindler's List $321,200,000 117 1987 Fatal Attraction $320,100,000 118 1992 Lethal Weapon 3 $319,700,000 119 1984 Beverly Hills Cop $316,300,000 120 1997 Air Force One $315,000,000 121 2004 National Treasure $313,528,988 122 1997 As Good as it Gets $313,300,000 123 2004 Shark Tale $310,308,530 124 1999 Austin Powers: The Spy Who Shagged Me $309,600,000 125 2001 Beautiful Mind, A $309,000,000 126 1996 Ransom $308,700,000 127 1999 Runaway Bride $307,900,000 128 2002 Chicago $306,400,000 129 1997 Liar Liar $306,300,000 130 1996 101 Dalmatians $304,200,000 131 1977 Close Encounters of the Third Kind $303,800,000 132 1998 Mulan $303,500,000 133 2000 Meet the Parents $301,500,000 134 1991 Hook $300,800,000 135 1985 Rambo: First Blood Part 2 $300,400,000 136 1985 Rocky IV $300,400,000 137 1978 Superman $300,200,000 138 1987 Beverly Hills Cop 2 $300,000,000 139 1999 Stuart Little $298,800,000 140 1989 Look Who's Talking $297,100,000 141 2000 X-Men $294,900,000 142 2002 Austin Powers in Goldmember $292,700,000 143 1984 Ghostbusters $291,600,000 144 1998 Doctor Dolittle $290,200,000 145 1988 Coming to America $288,800,000 146 2000 What Lies Beneath $288,600,000 147 1997 My Best Friend's Wedding $287,200,000 148 2001 American Pie 2 $286,500,000 149 1998 Lethal Weapon 4 $285,400,000 150 1999 Green Mile, The $284,600,000 151 1994 Speed $283,200,000 152 1992 Batman Returns $282,800,000 153 1977 Saturday Night Fever $282,400,000 154 1995 Casper $282,300,000 155 2004 Polar Express, The $281,351,972 156 2001 Bridget Jones's Diary $280,000,000 157 1992 Home Alone 2: Lost in New York $279,600,000 158 1998 Shakespeare in Love $279,500,000 159 2000 Scary Movie $277,200,000 160 2004 Bourne Supremacy $274,787,450 161 2001 Lara Croft: Tomb Raider $274,500,000 162 1996 Jerry Maguire $274,000,000 163 1991 Silence of the Lambs, The $272,700,000 164 2002 Scooby-Doo $270,900,000 165 1996 Nutty Professor, The $269,400,000 166 2004 Van Helsing $269,150,546 167 1972 Godfather, The $268,500,000 168 1942 Bambi $268,000,000 169 2002 xXx $267,200,000 170 2003 Something's Gotta Give $266,685,242 171 1993 Indecent Proposal $266,600,000 172 1995 Jumanji $264,700,000 173 1997 Fifth Element, The $263,900,000 174 2000 Charlie's Angels $263,200,000 175 1993 Firm, The $262,292,525 176 2003 Bad Boys II $262,000,000 177 1990 Total Recall $261,400,000 178 2002 Spirited Away $260,800,000 179 2000 Erin Brockovich $258,400,000 180 1985 Out of Africa $258,210,860 181 1997 Full Monty, The $256,900,000 182 1995 Waterworld $255,200,000 183 1993 Cliffhanger $255,000,000 184 1998 You've Got Mail $250,800,000 185 1997 Hercules $250,700,000 186 2003 Brother Bear $250,383,219 187 1998 Enemy of the State $250,300,000 188 1996 Space Jam $250,200,000 .
Load more

Recommended publications
  • Short Review: the “Austin Powers” Films by Dr. John L. Flynn Austin Powers: International Man of Mystery (1997), New Line Ci
    Short Review: The “Austin Powers” films by Dr. John L. Flynn Austin Powers: International Man of Mystery (1997), New Line Cinema, color, 94 min. Director: Jay Roach. Writer: Mike Myers. Producers: Demi Moore, Mike Myers, etc. Cast: Mike Myers, Elizabeth Hurley, Michael York, and Mimi Rogers. Someone just had to do another spoof series of James Bond movies (the Flint series with James Coburn, the Matt Helm series with Dean Martin, notwithstanding), and Mike Myers also camped up the whole 60’s decade—London’s Carnaby Street fashions, psychedelic art. .Yeah, baby! With Mrs. Kensington (Rogers) in tow, much like The Avengers British TV series, espionage agent Powers (Myers) pursues the loathsome Dr. Evil (Powers too) through the 60’s. Both make the jump to the 1990’s (thanks to the convenience of cryonic sleep), and Dr. Evil sets out to dominate the world, while Powers has plans to shag his former partner’s daughter Vanessa Kensington (the sensuous Hurley). The comedy ranges from satire to bathroom humor, but the babes look great in their tight, leather outfits or short, short skirts and go-go-boots! Who cares if it doesn’t make much sense! Have fun. Austin Powers: The Spy Who Shagged Me (1999). (aka Austin Powers 2). New Line Cinema, Color, 95 min. Director: Jay Roach. Writers: Mike Myers and Michael McCullers. Producers: Demi Moore, Mike Myers, etc. Cast: Mike Myers, Heather Graham, Michael York, and Robert Wagner. Less spoofing and more bathroom humor in this Powers sequel! Dr. Evil (Myers) uses a “Time- Tunnel”- like time machine to travel back to the late 60’s, and steal Powers’ (Myers too) mojo, but sexy, go-go girl Felicity Shagwell (Graham) puts him at his ease with some tender-loving shagging of her own.
    [Show full text]
  • Models of Time Travel
    MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened.
    [Show full text]
  • Available Titles
    Legendary Sports Group Sports & Entertainment Wall Art To contact us call: 18x24 Classic Movie Line 484.231.8733 Two photos featuring great moments from the Big Screen, double matted with a laser engraved nameplate. Movie Framed Art Available Titles CMLAN001 Apocalypse Now CMLAFGM001 A Few Good Men CMLAT001 Analyze This CMLAC001 Abbott & Costello CMLBHC001 Beverly Hills Cop CMLBAT001 Breakfast at Tiffany’s CMLB001 Bullitt CMLBH001 Brave Heart CMLCS001 Caddy Shack CMLCW001 Castatway CMLC002 Casablanca CMLCCF001 Charlie Choc Factory Depp CMLCCF002 Charlie Choc Fact Orig CMLCK001 Cincinnati Kid CMLCK002 Citizen Kane CMLCHL001 Cool Hand Luke CMLCT001 Crimson Tide Washington CMLCT002 Crimson Tide Hackman CMLCOM001 Color of Money CMLTD001 The Departed CMLDH001 Die Hard CMLDD001 Dirty Dozen CMLDH001 Dirty Harry CMLET001 E T CML48001 48 Hours CMLFC001 French Connection CMLFG001 Forrest Gump CMLTF001 The Fugitive CMLTG001 The Graduate CMLGHD001 Ground Hogs Day CMLGWT001 Gone with the Wind CMLGS001 Grease MLGF001 Godfather Brando Only CMLGF001 Godfather Pacino Only CMLGF003 Godfather Family CMLGF004 Godfather II Pacino CMLGF005 Godfather II DeNiro CMLGF006 Goodfellas All CMLGF007 Goodfellas Liotta/Bracco CMLHP001 Harry Potter CMLH001 Heat CMLH002 The Hustler Gleason CMLH003 The Hustler Newman CMLH004 The Hustler Newman Gleas CMLH005 Hooisers CMLIJ001 Indiana Jones CMLINV001 Invincible CMLJW001 John Wayne War CMLJW002 John Wayne Western CMLJM001 Jerry McGuire CMLJP001 Jurassic Park CMLMTP001 Meet The Parents CMLN001 The Natural CMLOAT001 Once Upon
    [Show full text]
  • No More Yanky My Wanky, Donger Need Beer. 48 Hours- We Ain’T Partners, We Ain’T Brothers, and We Ain’T Beers
    16 Candles- No more yanky my wanky, Donger need beer. 48 Hours- We ain’t partners, we ain’t brothers, and we ain’t beers. A Few Good Men- You want the beer? You can’t handle the beer. Ace Ventura: When Nature Calls- My, aren't I the popular beer. Airplane- Looks like I picked the wrong week to stop sniffing beer. Airplane- It’s an entirely different kind of beer. Airplane- No thanks, I’ll take it black, like my beer. Aladdin- Three beers - no substitutes, exchanges or refunds. Aladdin- Phenomenal cosmic powers, itty bitty beer space. Aladdin- I can’t believe this. I’m losing to a beer. Aliens- We’re on an express elevator to beer… going down! American Pie- This one time, at beer camp. American Pie- Beer me, beautiful. Animal House- My advice to you is to start drinking beer heavily. Animal House- Thank you, sir! Please may I have a beer? Apocalypse Now- I love the smell of beer in the morning.. smells like.. victory. Apollo 13- Houston, we have a beer. Army of Darkness- Good? Bad? I'm the one with the beer. As Good As It Gets- Sell beer someplace else, we're all stocked up here. Austin Powers- That really hurt! Who THROWS a beer? Austin Powers- Beer baby! Yeah! Austin Powers- Beer. Get in my belly! Austin Powers- That’s not my beer, baby. Austin Powers- Should we shag now, or drink a beer? Austin Powers- That ain’t no woman, it’s a beer, man! Austin Powers- Who does beer work for?! Austin Powers- Honestly, throw me a beer here.
    [Show full text]
  • Verne Troyer: I'd Love to Appear in Another Austin Powers Movie
    l i f e s t y l e TUESDAY, SEPTEMBER 29, 2015 G o s s i p Verne Troyer: I’d love to appear in another Austin Powers movie erne Troyer would “love” to make another ‘Austin who’s subsequently starred in an array of movies, includ- producer and also stars in the movie. “I’ve been friends Powers’ movie. The 46-year-old actor starred as ing a cameo role in the British comedy ‘Convenience’ - with him for six or seven years. He rang me up and asked VMini-Me in the comedy franchise and has revealed admitted he’ll forever be associated with the role of Mini- me if I wanted to do a cameo and I said, ‘Yeah, I’m all in.’” he would be eager to reprise the role alongside Mike Me. He shared: “I’m always going to be known for Mini Me ‘Convenience’ is in cinemas October 2 and On Myers. Speaking exclusively to BANG Showbiz, Verne said: and it’s fine. It’s really the role that got me started and put Demand/DVD October 5. “I would love to make another film. I’ve just heard me on the map and where I am today.” Meanwhile, Verne rumours. Someone was telling me earlier that Mike also revealed his friendship with Ray Panthaki was key to announced it was going to happen in the next couple of him securing a cameo role in ‘Convenience’. He said: years, but I don’t know. I haven’t heard anything.” Verne - “Basically I got involved because of Ray Panthaki, he’s the Diesel confirms one final Fast and Furious trilogy in Diesel says that the ‘Fast and Furious’ franchise will end after “one final trilogy”.
    [Show full text]
  • TOP GUN (1986) and the Emergence of the Post-Cinematic by MICHAEL LOREN SIEGEL
    5.4 Ride into the Danger Zone: TOP GUN (1986) and the Emergence of the Post-Cinematic BY MICHAEL LOREN SIEGEL Introduction The work of British-born filmmaker Tony Scott has undergone a major critical revision in the last few years. While Scott’s tragic suicide in 2012 certainly drew renewed vigor to this reassessment, it was well underway long before his death. Already by the mid-2000s, Scott’s brash, unapologetically superficial, and yet undeniably visionary films had been appropriated by auteurists and film theorists alike to support a wide range of arguments.[1] Regardless of what we may think of the idea of using auteurism and theory to “rescue” directors who were for decades considered little more than action hacks—an especially meaningful question in the digital age, given the extent to which auteur theory’s acceptance has increased in direct proportion to the growth of online, theoretically informed film criticism—it would be difficult to deny the visual, aural, narrative, thematic, and energetic consistency of Scott’s films, from his first effort, The Hunger (1983), all the way through to his last, Unstoppable (2011). The extreme scale and artistic ambition of his films, the intensity of their aesthetic and affective engagement with Ride into the Danger Zone the present (a present defined, as they constantly remind us, by machines, mass media, masculinity, and militarization), and, indeed, the consistency of their audiovisual design and affect (their bristling, painterly flatness, the exaggerated sense of perpetual transformation and becoming that is conveyed by their soundtracks and montage, the hyperbolic and damaged masculinity of their protagonists)—all of this would have eventually provoked the kind of critical reassessment we are seeing today, even without the new mythos produced around Scott upon his death.
    [Show full text]
  • Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy.
    [Show full text]
  • SPIKE LEE Presentation
    A SPIKE LEE presentation A film by NATE PARKER a TARAK BEN AMMAR / MARK BURG Production Releasing on VOD January 15th Publicity Contact: MPRM Communications [email protected] LOGLINE: After witnessing his son murdered by a white police officer who goes uncharged, Marine veteran Lincoln ‘Linc’ Jefferson takes justice into his own hands in a series of events he hopes will finally lead to justice for his son. SETUP: Lincoln Jefferson is a Marine veteran who has served two combat tours in Iraq. Now stateside, he works as a custodian in a prestigious California high school- a job he secured only to ensure enrollment in the school to his 14-year old son KJ, following his divorce. One night, Lincoln and his son are stopped by police and an altercation leads to the fatal shooting of Lincoln’s unarmed son. Lincoln, hopeful the system will provide a trial, is dismayed to learn the officer responsible for pulling the trigger will go uncharged and will return to active duty without an indictment. Disillusioned by the fact he was denied a fair trial for the death of his only son, Lincoln desperately takes the matter into his own hands in a series of events he hopes will finally lead to justice for his son. SYNOPSIS: AMERICAN SKIN weaves a layered story in the tradition of Sidney Lumet’s 12 Angry Men and Dog Day Afternoon, that follows a Black Iraqi War Vet, who after being denied of a fair trial following the shooting death of his teenage son (his only child) by a white police officer, desperately seeks justice and accountability for his son’s death.
    [Show full text]
  • Federal Communications Commission FCC 18-80 STATEMENT OF
    Federal Communications Commission FCC 18-80 STATEMENT OF COMMISSIONER BRENDAN CARR Re: Leased Commercial Access, MB Docket No. 07-42; Modernization of Media Regulation Initiative, MB Docket No. 17-105 Beverly Hills Cop. Ghostbusters. Indiana Jones and the Temple of Doom. Karate Kid. Police Academy. These films were all released in 1984, the same year that Congress passed the leased access provisions of the Communications Act that we apply today. Those provisions require cable operators to set aside channel capacity for use by unaffiliated programmers. While those films have now aged into classics, the same can’t be said for their sequels. And, unfortunately, the FCC’s attempts to update our leased access rules have met a similarly notorious fate. Our 2008 leased access order has been stayed by the U.S. Court of Appeals for the Sixth Circuit for a decade. So, I welcome the chance to launch this proceeding and take a fresh look at our approach. After all, a lot has changed since 1984. Back then, cable accounted for 98% of the pay TV market. Now, over 99% of homes have access to at least three competing video providers. Satellite providers alone now have around 30% of all subscribers. And these figures do not even account for the strong competition consumers are seeing from online streaming services like Sling, Netflix, and Amazon. Given these marketplace changes, I asked my colleagues to add a new section to the item that seeks comment on the First Amendment implications of our leased access regime. With relatively lower barriers to distributing content, including through online platforms, and a greater number of distribution options, I am interested in hearing from commenters about whether our approach remains consistent with the First Amendment.
    [Show full text]
  • The Man Who Built a Billion Dollar Fortune Off Pirates of The
    February 22, 2019 The Man Who Built a Billion‐Dollar Fortune Off ‘Pirates of the Caribbean’ By Tom Metcalf ‘Top Gun’ producer joins Spielberg, Lucas in billionaire club CSI and ‘Pirates of the Caribbean’ franchises drive fortune Johnny Depp as Captain Jack Sparrow and Jerry Bruckheimer Photographer: Mark Davis/Getty Images While the glitz and glamour of show business will be on full display Sunday at the Academy Awards, one of Hollywood’s most successful producers will be merely a bystander this year. Don’t weep for Jerry Bruckheimer, however. The man behind classic acon films like “Top Gun” and “Beverly Hills Cop” has won a Hollywood status far rarer than an Oscar ‐‐ membership in the three‐comma club. While stars sll reap plenty of income, the real riches are reserved for those who control the content. The creaves who’ve vaulted into the ranks of billionairedom remains thin, largely the preserve of household names like Steven Spielberg and George Lucas, who had the wherewithal to enter film producon and se‐ cured rights to what they produced. Bruckheimer has been just as successful on the small screen, producing the “CSI: Crime Scene Invesgaon” franchise. He’s sll at it, with a pilot in the works for CBS and “L.A.’s Finest,” a spinoff of “Bad Boys,” for Char‐ ter Communicaons’ new Spectrum Originals, set to air in May. “Jerry is in a league all of his own,” said Lloyd Greif, chief execuve officer of Los Angeles‐based investment bank Greif & Co. “He’s king of the acon film and he’s enjoyed similar success in television.” The TV business is changing, with a new breed of streaming services such as Nelix Inc.
    [Show full text]
  • Beverly Hills, and Are You Ready for This? I Was a Security Guard
    11B EVERLY H I L L S COP" Screenplay by Daniel Petrie, Jr. Story by Danilo Bach & Daniel Petrie, Jr. This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify and/or return to script department. Don Simpson-Jerry Bruckheimer Prods. in association with Eddie Murphy Prods. PARAMOUNTPICTURES CORPORATION REVISED FINAL DRAtT 5555 Melrose Avenue May 14, 1984 Los Angeles, CA 90038 (213) 468-5000 w/Revisions dated 7/26/84 AS SHOT 11B EVERLY H I L L S CO P 11 Screenplay by Daniel Petrie, Jr. Story by Danilo Bach & Daniel Petrie, Jr. This script is not for publication or reproduction, No one is authorized to dispose of same. If lost or destroyed, please notify and/or return to script department. Don Simpson-Jerry Bruckheimer Prods. in association with Eddie Murphy Prods. PARAMOUNTPICTURES CORPORATION REVISED FINAL DRAFT 5555 Melrose Avenue May 14, 1984 Los Angeles, CA 90038 (213) 468-5000 w/Revisions dated 7/26/84 AS SHOT 11B EVERLY H I L L S CO P 11 Screenplay by Daniel Petrie, Jr. Story by Danilo Bach & Daniel Petrie, Jr. This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify and/or return to script department. Don Simpson-Jerry Bruckheimer Prods. in association with Eddie Murphy Prods. PARAMOUNTPICTURES CORPORATION REVISED FINAL DRAFT 5555 Melrose Avenue May 14, 1984 Los Angeles, CA 90038 (213) 468-5000 w/Revisions dated 7/26/84 AS SHOT AS SHOT 5/14/84* "BEVERLYHILLS COP" l EXT.
    [Show full text]
  • Get with the Times Austin Powers: International Man of Mystery (1997), Directed by Jay Roach by Christina Harlin, Your Fearless
    Get with the Times Austin Powers: International Man of Mystery (1997), Directed by Jay Roach By Christina Harlin, your Fearless Young Orphan It has taken us a good long while to get around to Austin Powers in our “Spy Films” category, but we’re not on a strict schedule here, so sue me. I have meant to do this and simply never gotten around to it, even knowing that Austin belonged here. Back when I was watching the rather excellent “Flint” films and the revolting Matt Helm films, I even brought up the Austin Powers comparisons. This is because, while Austin Powers makes fun of James Bond villainy – Dr. Evil being the perfect amalgamate of every terrible Bond nemesis – Austin himself is a mix of Flint and Helm, and a fair measure of the ultra-hip protagonist of the classic film Blowup, which has damn little to do with spies at all. Austin is not James Bond. If you want to see a spoof of Bond himself, watch the overall excellent French OSS-117 comedies, or any of the Roger Moore Bond movies, come to think of it. Now let’s see here. It’s been twenty years since Austin danced onto the scene, which brings up a couple of vital questions at once. Did the movie age well? Does the passage of real time cause I don’t smoke, but I couldn’t turn down an problems for a movie that is, in large part, offer with this much effort in it. about the passage of time? The joke is that Austin (Mike Myers) is a 1967 playboy-rockstar-photographer-superspy- freeloving-hippie-mojo-wielding sex machine who has been cryogenically frozen and reanimated in 1997 to save the world from the similarly transported Dr.
    [Show full text]