The Magnificent Seven review:
Writers: Akira Kurosawa , Shinobu Hashimoto
Stars: Denzel Washington, Chris Pratt, Ethan Hawke
Distributed by: Metro-Goldwyn-Mayer Columbia Pictures
The Magnificent Seven is a 2016 American western action film directed by Antoine FuquaSeven gun men in the old west gradually come together to help a poor village against savage thieves. A remake of the 1960 western film of the same name, which in turn was a remake of the 1954 Japanese film Seven Samurai.
Box Office Collection 1st day (Source Wiki):
In the United States and Canada, The Magnificent Seven is projected to open to around $30 million, with some estimates going as high as $50 million, which would make it one of the biggest September debuts of all-time. The film will open in 3,674 theaters, including having the benefit of playing in all IMAX theaters for one week and a number of premium large formats and D-Box screens. It made $1.75 million in Thursday previews from 3,096 theaters.
Be part of #TheMagnificentSeven as they take on an army – now in theaters everywhere! #Mag7 https://t.co/cuJWpXZfE9 pic.twitter.com/29xblNdqHH
— Sony Pictures (@SonyPictures) September 23, 2016
The Magnificent Seven review
The Magnificent Seven received mixed reviews.
Rating – 7.1/10
The Magnificent Seven
Director – Antoine Fuqua
Cast – Denzel Washington, Chris Pratt, Ethan Hawke, Haley Bennett, Peter Sarsgaard
Rating – 3/5
The Magnificent Seven is a spectacular picture; a breathtaking, action-packed spectacle about racism, capitalism, greed and honour. It revives the Western, a dying genre that was once beloved, with respect, wit and charm.
Rating – 2/4
Rarely have so many charismatic actors been used in a film that feels quite as soulless as Antoine Fuqua’s update of “The Magnificent Seven.” It’s one of those projects that should work on paper. The cast is perfectly assembled, and I’ve actually been a bigger fan than most of Fuqua’s recent old-fashioned morality plays like “The Equalizer” and “Southpaw.” However, this effort, the opening night film of the Toronto International Film Festival, too often registers as hollow, an exercise in genre that has echoes of the John Sturges and Akira Kurosawa versions, but little of the charm of the former and none of the depth of the latter. The sheer talent of the cast here sometimes provides enough depth to get audience members to the climactic shoot-out, and there are a few definite MVPs in terms of ensemble, but it’s hard to envision this film having anywhere near the cinematic legacy of those that inspired it.