Tuesday 23rd June 2015, Colombo: Sri Lanka's leading cinema brand, EAP Films and Theatres Ltd was recently awarded ISO 9001:2008 certification achievement, recognising the company’s commitment to the highest standards of quality and service. This achievement is a first for the Sri Lankan film and theatre industry. EAP Films and Theatres Ltd has established a position as Sri Lanka leading cinema chain in the film and theatre industry.

The ISO 9001:2008 set or a criteria for a quality management and is focused on meeting customer expectations, delivering customer satisfaction and the continuous improvement of its quality and service. The ISO 9001:2008 has been implemented by over one million companies and organizations in 170 countries regardless of its field of activity. The ISO 9001:2008 is awarded for high achievement in the areas of customer focus, leadership, involvement of people, process approach, system approach to management, continual improvement, decision-making and mutually beneficial supplier relationships

EAP Films and Theatres began its’ long run in Sri Lankan cinema industry by producing and releasing the film Anjali on 24 April 1957. Since then EAP Films has produced over 25 films such as Pirimiyek Nisa, Duleeka, Seilama, Veesi Dela, Rae Daniel Dawal Migel, Ira Mediyama and One Shot One. EAP Films and Theatres are the only circuit in Sri Lanka to produce, import, distribute and exhibit films. Impala cinema was the first theatre to be owned by EAP Films and Theatres. Since the EAP has managed 31 modern cinemas in Sri Lanka, namely Savoy 3D, Liberty, Cinemax, Excel 3D, Wilmax 3D, Queens 3D and Concord. EAP cinemas are reputed for the possession and management of the best theatres in the country. EAP Films is the market leader in the Sri Lankan Film Industry providing an outstanding entertainment platform for film-goers.

Commenting on the achievement , Mr Mano Tittawella, the Group Chairman/Managing Director of EAP Holdings and Deputy Chairman of EAP Broadcasting Company (EBC) stated “It is a great honour for EAP Films and Theatres Ltd to receive an ISO 9001:2008 certification achievement. Since inception EAP Films and Theatres has maintained a reputation for managing the best cinemas in the country and have expanded to 31 cinemas around the island. EAP is also the only circuit in Sri Lanka to produce, import, distribute and exhibit films. As the market leader in the Sri Lankan film and theatre industry, the certification is a great achievement. EAP Films and Theatres holds a total patron satisfaction by improving our quality standards through technology and infrastructure upgrades with an unmatched cinematic experience.”

EAP Films and Theatres Ltd currently possesses the best 3D screen (Savoy 3D) in Sri Lanka. To further its position as the technological pioneer of the film and theatre industry, EAP Films and Theatres are currently undergoing the digitalization and expansion of its cinemas. EAP has currently completed five cinemas and are continuously expanding and developing its cinematic experience.

Another day, another box office record for Jurassic World. The dino sequel demolished nearly every short-term box office record in the book this weekend with a massive $208.8 million domestic debut and a $524m worldwide debut, both the largest ever. The film wasn’t some quick-kill blockbuster either, setting the record for the biggest Saturday ($69.5m) and Sunday ($57.2m) grosses despite “only” snagging the third biggest opening day/Friday on record ($81.9m). Of course, as noted, if you discount the Thursday previews ($18.5m), it gets the record for “pure” Friday ($63.4m) as well, but I digress. And the film followed up with a whopping $25.34m on Monday to snag the third-biggest Monday ever but the biggest non-holiday Monday gross ever as well.

And now it’s done the same for Tuesday, earning another $24.34 million, a drop of just 4% from yesterday. For comparison, Toy Story 3 dropped 51% from Sunday to Monday and 3% from Monday to Tuesday, so we’re dealing with similar legs for nearly double the initial grosses. That’s the third-biggest Tuesday ever and by far the biggest for a film that didn’t open on a Tuesday in advance of the July 4th holiday ($35m for Amazing Spider-Man 2 and $27mfor Transformers). That also brings the film’s domestic total to a whopping $258.49m. That means Universal/Comcast Corp.’s Jurassic World has crossed the (arbitrary) $250m domestic milestone in just five days, one day shorter than Walt Disney’s The Avengers and three days ahead of anything else. The Dark Knight, The Hunger Games: Catching Fire, and Avengers: Age of Ultron needed eight whole shameful days to do it.

Not only is it racking up bigger numbers than its blockbuster predecessors (some of which, of course, didn’t have the 3D advantage) but it is far outpacing even the likes of The Avengers at this early juncture. If this path continues, and I see little reason why it won’t, it will end its first full week in American theaters by sailing past the $300 million domestic mark. Again (notice a pattern here), that’s two days faster than The Avengers and three days faster than The Dark Knight and Avengers 2. Now we get into the guessing game. Can it hold its audience enough to grab the biggest non-opening Friday from Transformers 2 ($36m), or even the biggest “start of second weekend Friday” from The Hunger Games: Catching Fire ($31m), or heck, even the “second weekend didn’t include a holiday” $29m second Friday of The Avengers?

We can do all of those Friday/Saturday/Sunday comparisons when the time comes, but here’s the real kicker: If Jurassic World ends up above $300m heading into the weekend (and I’m presuming it will, with as much as $310m by Thursday) and it holds up at least well enough to equal or surpass the $103m second weekend of The Avengers (a 51% drop) or make up the difference via stronger weekday grosses, it will end its second weekend over the once fabled $400m domestic milestone. That would be four days faster than The Avengers and eight days faster than the (2D) The Dark Knight, but considering there have only been sixteen films ever to hit that mark in the first release, well, we can discuss the inflation situation when the time comes.

Obviously that’s a lot of speculation based on the next two days and whether or not it drops closer to 50% or 60% in its second weekend, but even the idea that such a thing is possible is a little mind-boggling to consider, and I’m confident enough about the possibility to even suggest as much. I hesitate to wonder if it will hit $1 billion worldwide at the end of the weekend too, but what a headline that will make! Of course, a little less than $400m here and $1b everywhere will be okay too. But how I enjoy doing the math! As always, we’ll see.

While Marvel seems hell-bent on dishing out as many movies as they can, one can get a bit confused as to who is who and what’s even going on. In the midst of all this MCU craziness, we are introduced to “Ant-Man,” and a lot of questions along with him.

Instead of trying to understand the origins of the hero or the plot of the movie, we wanted to talk about the possible box office performance of the July 2015 superhero flick.

On the other hand, we have the upcoming sequel to “The Avengers” which is also set to premiere in July. The superhero team made a boom last time, and it’ll surely do the same with “The Avengers: Age of Ultron.”

Simply adding James Spader to the casting crew was a genius move, and it can only result in attracting even more audience to the movie.

Even though Marvel gave itself a lot of competition, they can only benefit from this situation. Same goes for the two competing movies, as people will get torn between them, only to decide to see both rather than just one.

Marvel’s move was a smart one, and we can see how this can help “Ant-Man’s” popularity. With Paul Rudd as the protagonist, this summer flick’s probably going to have a bright future at the box office.

Disney just reported for Tomorrowland with $725K from its limited run in what they’ve been calling 701 “premium/palace locations” (which means IMAX and PLF screens) with a nice $1,077 per screen average. Had they played the film on a greater number of screens — in the 2,500 to 3,000 range — they would have ended up with a nice Thursday preview in the millions of dollars. But they didn’t. So the if-they-had scenarios ($2.7M to $3.2M is being tossed around) didn’t happen.

'The Avengers' may already be the third highest-grossing film of all time, but it looks like this summer's sequel 'Avengers: Age of Ultron' could surpass it, at least when it comes to opening weekend box office receipts. Industry researched boxoffice.com predicts that ‘Age of Ultron’ will rake in $217m domestically (in US and Canada) over its opening weekend when it’s released on May 1st, smashing the record of $207m currently held by 2012’s ‘The Avengers’.

https://brenjitukuat.com/ brenjitu https://dreamsecret.com.ua/brenjitu/ https://dreamsecret.com.ua/brenjitu/ https://www.littlegoa.com/catalog/view/ https://167.172.131.64/ http://www.mercedeslence.com/ https://brenjitutu.my.id/ https://www.yamaarashi.be/ https://phamtienhung.vn/ http://web.akfarcefada.ac.id/ https://shop.vdarts.net/vendor/filp/whoops/

Furious 7 is expected to usher in a string of mega-openings at the box office this year. Disney and Marvel's The Avengers: Age of Ultron, set to open May 1, hasn't come on tracking yet, but some forecasters are already suggesting it could score the top opening of all time domestically, eclipsing the record-breaking breaking start of The Avengers ($207 million) in 2012..

Walt Disney Pictures Cinderella, according to industry estimates, is looking at an excellent $22.5M first Friday putting it on track for an opening that’s just under $70M at $69M at 3,845 playdates. While that’s a fantastic opening, March has some tall opening records and that type of FSS would put Cinderella as the month’s sixth-highest opening. The top three March weekend openers are The Hunger Games ($152.5M), Disney’s Alice In Wonderland ($116.1M) and the studio’s Oz The Great And Powerful ($79.1M).

Sometimes bad reviews don't mean a thing for movies, which was certainly the case with "Taken 3" this weekend.

The third installment of the series starring Liam Neeson outperformed analyst estimates grossing $40.4 million opening weekend.

That number isn't higher than the $49 million opening weekend of 2012's "Taken 2," which shouldn't be a big surprise for anyone who's seen the film. "Taken 3" does not live up to its predecessors at all.

"Taken 3" had a lot of potential, but decided to ditch the main villains of the first two films (Albanian mobsters) for a random Russian mob instead. 

While the plot of the film pales in comparison to the first two, it was far from the main problem with the sequel. The editing of several big action sequences is so awfully cut together that it causes confusion as to what you're actually watching on screen. The worst offender is a giant car crash scene on a highway. 

The real test will be whether the film can hold over in its second weekend at theaters. 

There is something wrong with the magical Egyptian tablet that has been the source of life for the exhibits at New York’s Museum of Natural History.

To fix it Larry (Ben Stiller) takes the tablet back to its original owner Merenkahre (Ben Kingsley), who is on exhibit at the British Museum of Natural History.

Larry brought along Merenkarhre’s son, Ahkmenrah (Rami Malek), to reunite his family, but there were a few more stowaways hiding in the crate. Larry needs all the help he can get as the British Museum comes to life in the presence of the magical tablet.

I say, “Night at the Museum: Secret of the Tomb is a charming farewell.”

Mr. Howe has gone on Christmas holiday, so I am left to fend for myself for the last film review of the year. This third installment of the Night at the Museum films is much the same as the others, cute, punny, funny and a little cheeky, not unlike the behaviour of everyone’s favourite Capuchin monkey.

Although the film does sport a sort of redone quality to it, because they go to the British Museum of Natural History and have a whole new batch of exhibits to come to life. The film is also sentimental, both in story and execution as there are a lot of goodbyes in it. This is because of the failing magical tablet, for instance, slowly turning Theodore Roosevelt (Robin Williams) back into a wax figure. Throughout the story, the threat of not being alive anymore, (sounds weird to say it like that, but they are statues and figurines) creates the tension.

I don’t think I’m going to spoil anyone’s Christmas by letting you know that they get the golden tablet figured out, the magic is fixed and everyone is happy to be together again, but now there are two museums full of living historical figures (and creatures) yet only one magical tablet. This leads to a self-sacrifice and a whole bunch more goodbyes.

It is these goodbyes that tug at the heartstrings, especially when you look into the eyes of Williams, who looks so tired and sad. I heard that they had to re-edit the ending as Williams’ farewell was too sad. I think that might have been wise. I, for one, went in knowing I was watching one of his last films and felt a bit melancholy the whole time. (Robin Williams is still going to be in a few more movies that haven’t come out yet, but they’re smaller pictures and might not come to Vernon.)

However, although I might be dwelling on this sad note a bit, there is a great deal of comfortable fun to be had in this movie. The gang is all here, including: Sacajawea, Atilla the Hun, tiny Octavius and Jedediah. Even Dick Van Dyke, Mickey Rooney and Bill Cobbs make an appearance. Plus they are joined by a museum full of new characters, most notably Sir Lancelot (Dan Stevens) who does his best to steal the show. There are also a some major stars in surprise appearances.

The film itself is quite lazy, relying on callbacks to old jokes and using dialogue to explain what is happening, so it’s not going to score very highly, but is still good, clean fun for kids of all ages.

I give Night at the Museum: Secret of the Tomb 3 neanderthal doppelgangers out of 5.

After three weeks of box office dominance, "The Hunger Games: Mockingjay - Part 1" ceded its reign to "Exodus: Gods and Kings."

The biblical epic easily ruled the weekend with a $24.5 million debut, according to box office tracker Rentrak's Sunday estimates, while "The Hobbit: The Battle of the Five Armies" dominated international charts with a staggering $117.6 million from 38 territories in advance of its North America release this week.

"The Hunger Games: Mockingjay - Part 1," down 40 percent from last weekend, came in a distant second, earning $13.2 million.

With an expensive $140 million production budget, "Exodus: Gods and Kings" met expectations in its first weekend. But it failed to live up to the precedent set by some recent biblically themed films, including "Noah," which opened to $43.7 million in March.

"I think Hollywood is learning that putting epic, biblical stories on the big screen comes at a pretty heavy price. It's not easy to do this," said Rentrak senior media analyst Paul Dergarabedian.

Fox's domestic distribution chief Chris Aronson said he is happy about the performance of his studio's film.

"We're feeling great," Aronson said. "We came in right where our expectations were."

According to the studio, opening weekend crowds for the film were divided fairly evenly down gender lines, but they skewed older with 65 percent over the age of 25.

"It's a very diverse audience," said Aronson, noting that 20 percent were African-American and 18 percent Hispanic. "It's a movie for everyone."

There was a lot of talk about the film leading up to its release. At one point Fox head Rupert Murdoch defended the casting white actors in Egyptian roles.

Also new in theaters, "Top Five," from writer, director and star Chris Rock, opened strongly. The Paramount-distributed comedy took in an estimated $7.2 million from only 979 locations to take the fourth-place spot right behind "Penguins of Madagascar." It co-stars Rosario Dawson, Gabrielle Union, Cedric the Entertainer, J.B. Smoove and others.

"It's exactly what we needed to get this movie up and running," said Megan Colligan, Paramount's president of worldwide distribution. "It gives us the right rhythm to keep building and building. I think it's going to benefit from great word of mouth."

"Top Five" will expand each weekend before hitting 2,000 screens by Jan. 1.

Despite the fact that nearly all expectations were met for this weekend's new openers, it paled in comparison to last year, which saw the opening of the second "Hobbit" film. Also, the overall box office is still down over 5 percent for the year, and the deficit is only growing.

"We're running out of racetrack," Dergarabedian said. "We're not going to have a record-breaking year."

But there is a silver lining, he said.

"For me, the hot spots are in the indie world," said Dergarabedian, noting the impressive five-screen, $300,000 debut for Paul Thomas Anderson's "Inherent Vice," and the stunning growth of awards-friendly films such as "The Imitation Game," "Birdman" and "Wild," which expanded to 116 screens and cracked the top 10 with $1.6 million.