Jr Ntr Movies List In Hindi Dubbed Download !!TOP!!

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Films generate income from several revenue streams, including theatrical exhibition, home video, television broadcast rights, and merchandising. However, theatrical box-office earnings are the primary metric for trade publications in assessing the success of a film, mostly because of the availability of the data compared to sales figures for home video and broadcast rights, but also because of historical practice. Included on the list are charts of the top box-office earners (ranked by both the nominal and real value of their revenue), a chart of high-grossing films by calendar year, a timeline showing the transition of the highest-grossing film record, and a chart of the highest-grossing film franchises and series. All charts are ranked by international theatrical box-office performance where possible, excluding income derived from home video, broadcasting rights, and merchandise.

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FBox Office Mojo stopped updating its main total for Frozen in August 2014, while it was still in release. The total listed here incorporates subsequent earnings in Japan, Nigeria, Spain, the United Kingdom and Germany up to the end of 2015 but omits earnings in Turkey, Iceland, Brazil, and Australia (2016), which amount to a few hundred thousand dollars. The total is rounded to $1 million to compensate for the numerical inaccuracy. It was re-released in the United Kingdom in December 2017 with Olaf's Frozen Adventure, earning an additional $2.3 million.

Because of the long-term effects of inflation, notably the significant increase of movie theater ticket prices, the list unadjusted for inflation gives far more weight to later films.[22] The unadjusted list, while commonly found in the press, is therefore largely meaningless for comparing films widely separated in time, as many films from earlier eras will never appear on a modern unadjusted list, despite achieving higher commercial success when adjusted for price increases.[23] To compensate for the devaluation of the currency, some charts make adjustments for inflation, but not even this practice fully addresses the issue, since ticket prices and inflation do not necessarily parallel one another. For example, in 1970, tickets cost $1.55 or about $6.68 in inflation-adjusted 2004 dollars; by 1980, prices had risen to about $2.69, a drop to $5.50 in inflation-adjusted 2004 dollars.[24] Ticket prices have also risen at different rates of inflation around the world, further complicating the process of adjusting worldwide grosses.[22]

Steven Spielberg is the most represented director on the chart, with six films to his credit, occupying the top spot in 1975, 1981, 1982, 1984, 1989 and 1993. Cecil B. DeMille (1932, 1947, 1949, 1952 and 1956) is in second place with five films and William Wyler (1942, 1946, 1959 and 1968) and James Cameron (1991, 1997, 2009 and 2022) are tied for third place with four films. D. W. Griffith (1915, 1916 and 1920), George Roy Hill (1966, 1969 and 1973) and the Russo brothers (2016, 2018 and 2019) all feature heavily with three films apiece. George Lucas directed two chart-toppers in 1977 and 1999, but also served in a strong creative capacity as a producer and writer in 1980, 1981, 1983, 1984 and 1989 as well. The following directors have also all directed two films on the chart: Frank Lloyd, King Vidor, Frank Capra, Michael Curtiz, Leo McCarey, Alfred Hitchcock, David Lean, Stanley Kubrick, Guy Hamilton, Mike Nichols, William Friedkin, Peter Jackson, Gore Verbinski, and Michael Bay; Mervyn LeRoy, Ken Annakin and Robert Wise are each represented by one solo credit and one shared credit, and John Ford co-directed two films. Disney films are usually co-directed and some directors have served on several winning teams: Wilfred Jackson, Hamilton Luske, Clyde Geronimi, David Hand, Ben Sharpsteen, Wolfgang Reitherman and Bill Roberts have all co-directed at least two films on the list. Only seven directors have topped the chart in consecutive years: McCarey (1944 and 1945), Nichols (1966 and 1967), Spielberg (1981 and 1982), Jackson (2002 and 2003), Verbinski (2006 and 2007) and the Russo brothers (2018 and 2019).

FHSome sources such as The Numbers state that Aloma of the South Seas is the highest grossing film of the year, earning $3 million.[54] However, no contemporary sources provide figures for Aloma of the South Seas, so it is unclear what the $3 million figure relates to. If it were the rental gross then that would have made it not only the highest-grossing film of the year, but one of the highest-grossing films of the silent era, and if that is the case it would be unusual for both International Motion Picture Almanac and Variety to omit it from their lists.

MDMom and Dad does not generally feature in 'high-gross' lists such as those published by Variety due to its independent distribution. Essentially belonging to the exploitation genre, it was marketed as an educational sex hygiene film in an effort to circumvent censorship laws. Falling foul of the Motion Picture Production Code, Mom and Dad was prevented from obtaining mainstream distribution and restricted to independent and drive-in theaters. It was the biggest hit of its kind, and remained in continual distribution until the 1970s when hardcore pornography eventually took over. At the end of 1947 it had earned $2 million, and by 1949, $8 million; by 1956 it had earned $22 million in rentals, representing a gross of $80 million, and would have easily placed in the top ten films in the late 1940s and early 1950s. Estimates of its total earnings are as high as $100 million.

In November 2013, Marvel Studios president Kevin Feige said that "in an ideal world" releases each year would include one film based on an existing character and one featuring a new character, saying it's "a nice rhythm" in that format. While not always the case, as evident by the 2013 releases of Iron Man 3 and Thor: The Dark World, he said it is "certainly something to aim for".[4] Feige expanded on this in July 2014, saying, "I don't know that we'll keep to [that model] every year, but we're doing that in 2014 and 2015, so I think it would be fun to continue that sort of thing".[5] After the reveal of multiple release dates for films through 2019 in July 2014,[6] in which some had three films scheduled, Feige stated there was not "a number cruncher" telling the studio to increase their film output, but rather it was about "managing [existing] franchises, film to film, and when we have a team ready to go, why tell them to go away for four years just because we don't have a slot? We'd rather find a way to keep that going."[7] After the titles were revealed in October 2014,[8] Feige said, "The studio's firing on all cylinders right now ... which made us comfortable for the first time ... to increase to three films a year [in 2017 and 2018] instead of just two, without changing our methods."[9] On the potential for "superhero fatigue", Feige stated, though each of the films are based on the Marvel Comics and feature the "Marvel Studios" logo, he believed each film had their own distinctions to help differentiate them from other MCU and superhero films. For example, he noted how the 2016 releases of the studio, Captain America: Civil War and Doctor Strange, were "two completely different movies". The studio hoped to continue to surprise audiences and ensure the studio was "not falling into things becoming too similar".[10]

Celine Sciamma's magnetic, masterful lesbian romance may be a recent addition to this list, but became an instant landmark of queer cinema upon its release. Starring Noumie Merlant as an 18th century painter and Aduele Haenel as her elusive subject, Portrait Of A Lady On Fire is a tale of an epic love developed in the quietest, most delicate way, formed in stolen moments and glances. Sciamma's carefully constructed script is matched by Claire Mathon's cinematography, each shot like a Renaissance painting brought to life. Pure poetry.

Sofia Coppola's second film is the ultimate jet lag movie, locating its central almost-romance between listless college grad Scarlett Johansson and life-worn actor Bill Murray amid the woozy, daydreamy bewilderment of being in a very foreign country and a very different time zone. And it's exactly right that we still don't know what he whispered to her at the end.

Marvel has cannily employed directors who have more usually made smaller, indie movies, handed them the keys to the giant machine that is their cinematic universe and (within reason) let them do their thing. Among the best to grasp that opportunity is Taika Waititi, who helped find Thor's true funny bone, a more effective weapon than Mjolnir. Ragnarok, which shakes up Thor's entire world (by, er, destroying it) is a hilarious take on a superhero story, full of action, while re-introducing Mark Ruffalo's Hulk in fantastic fashion and having us meet the likes of Tessa Thompson's Valkyrie and Jeff Goldblum's Grandmaster.

A joyous, vibrant Technicolor celebration of the movies, that's such an essential viewing experience there should perhaps be a law that it feature in every DVD and Blu-ray collection. It's no mere Hollywood self-love exercise, though. As star Don Lockwood, Gene Kelly brings a sense of exasperation at the film industry's diva-indulging daftness, making it a gentle piss-take, too.

Edgar Wright, Simon Pegg and Nick Frost's tribute to big American cop movies isn't just a great fish-out-of-water comedy, sending high-achieving London policeman Nick Angel (Pegg) to the most boring place in the UK (or so it seems). It also manages to wring every last drip of funny out of executing spot-on bombastic, Bayhem-style action in a sleepy English small-town setting. 17dc91bb1f