Box Office: ‘The Barbarian’ Takes a Stab at No. 1 in Quiet Week

Holly Willoughby's fans don't miss a trick and it left the presenter having to admit to a last-minute change before her latest This Morning appearance. She was back on screen on Tuesday (October 4) alongside Phillip Schofield for the latest installment of the ITV daytime show.

A woman doing her weekly shop at Aldi with only £5 in her pocket was left dumbfounded when she got to the checkout. Aldi has been named the fourth largest supermarket in Britain, and prides itself on low prices.

“So people need to be aware of how their partner does their love language,” Anna told The Mirror.The TV star explained that while she had been “introduced” to dating apps, she did not meet her new beau through one of them.She stressed how she was “really, really lucky” to have found someone that was “compatible” in her friendship circle.The Naked Attraction host added: “So many girlfriends of mine have met through apps and I know they're brilliant."Anna previously dated Sue, who she met at a Halloween party, following Anna’s split from her ex-partner of 18 years, Charles Martin.The Naked Attraction presenter and her former partner, Sue, were together for seven years until they split last year.The reported reason for their split was that they were unable to agree on adopting children.After the split, Anna told Express.co.uk in an exclusive interview she was still hoping to have kids.She said: "I'm still pursuing that, I am very much in touch with Adoption UK because I did a podcast for them last year."I'm very keen to press ahead with creating a family, yes."Elsewhere, Sue had previously reflected on her benign pituitary gland tumour diagnosis, which admittedly left her in a "dark place".She told The Mirror: "I don't know if I would have gone on to have children.“But as soon as someone says you can't have something, you want it more than anything."Sue regularly attends hospital check-ups to monitor the symptoms of her tumour.She added: “Sometimes it screws up my hormones.“I have various tests now to make sure the side effects aren't too onerous."

EASTENDERS' fans were VERY distracted after Lola Pearce's skimpy wardrobe choice flaunting her slender figure. The blonde beauty wore a white floral crop top with purple printed leggings and a cropped zip hoodie in Monday's episode of the BBC soap.

AMANDA Holden showed off her toned and tanned legs as she prepared for a gruelling endurance challenge in unusual fashion. The Heart Radio DJ jumped on a stepper in the studio in teetering high heels and a miniskirt as a production member shot her with a confetti cannon. The Britain's Got Talent star, who finished her vintage look with a frilled long-sleeve top, beamed as her legs pumped up and down.

MARRIED At First Sight UK star April Banbury has broken her silence after her on-screen "husband" George Roberts was arrested. The reality TV star took to her Instagram stories to reveal she was heading out for dinner with her dad and a pal on Monday night.

Blake Shelton will take any reason to celebrate his wife, Gwen Stefani, and her birthday was the perfect opportunity for the 46-year-old country music singer to publicly gush over her. Not only did Shelton shower Stefani with affection on social media, he also made sure her day was filled with surprises.«Happy birthday to my beautiful wife @gwenstefani!!!» Shelton captioned an adorable photo of the duo. «I love you so freakin much!!!!»A post shared by Blake Shelton (@blakeshelton)Shelton later took to his Instagram Stories with the same caption, but this time sharing a TikTok video that showed he and Stefani singing a duet.

Charli D’Amelio is a front runner on this season of “Dancing With the Stars”, but that doesn’t mean she’s not feeling the pressure. Especially when some of her famous friends come out to show their support.

talk of Idris Elba being the next 007, as well as Tom Hardy. “Bridgerton” star Regé-Jean Page is also tipped to become the martini-drinking secret agent.“We’ve tried looking at younger people in the past,” Wilson said at a Bond event at the British Film Institute on Friday, according to Deadline. “But trying to visualize it doesn’t work.”Craig, who took over as Bond from Pierce Brosnan in 2006, was 38 years old, and went on to appear in four 007 films in total.“Remember, Bond’s already a veteran,” Wilson said.

After months of rumours and whisperings, it was time for the Brown family to face the music on Sunday’s “Sister Wives”. Christine Brown finally tells her fellow sister wives — Meri, Janelle, and Robyn Brown — that she’s planning to leave their husband, Kody, and move herself and their daughter, Truely, to be near her family in Utah.

The last few weeks have seen a seismic shift for our royal family. Following Queen Elizabeth II's passing on September 8, her son Charles has finally assumed the title that was his birth right - King Charles III.

Rebecca Rubin Film and Media Reporter “Barbarian,” a horror movie that may have audiences thinking twice about booking that next Airbnb, scared up a better-than-expected $10 million in its domestic debut. Since the box office has been a wasteland for some weeks now, those ticket sales were enough to lead domestic charts, despite barely reaching double digits. This weekend’s other new nationwide release, “Brahmastra Part One: Shiva,” opened in second place with $4.4 million from 810 North American theaters. Both films are backed by Disney. Though “Barbarian” landed a tepid “C+” CinemaScore, the twisty thriller is benefitting from word-of-mouth, given the film’s zany and flat-out terrifying turns. Variety’s Peter Debruge gave “Barbarian” high praise, calling it a “new horror classic,” one that gets “downright demented as it goes along.” If “Barbarian,” which stars Georgina Campbell, Bill Skarsgård and Justin Long, keeps people talking, the movie is likely to keep filling seats during a creaky September at the box office.

Peter Debruge Chief Film Critic No director has done more to deconstruct the myth of the suburban American family than Steven Spielberg. Dissertations have been written and documentaries made on the subject. And now, at the spry young age of 75, Spielberg himself weighs in on where his preoccupations come from in “The Fabelmans,” a personal account of his upbringing that feels like listening to two and a half hours’ worth of well-polished cocktail-party anecdotes, only better, since he’s gone to the trouble of staging them all for our benefit. Spielberg’s a born storyteller, and these are arguably his most precious stories. From the first movie he saw (“The Greatest Show on Earth”) to memories of meeting filmmaker John Ford on the Paramount lot, this endearing, broadly appealing account of how Spielberg was smitten by the medium — and why the prodigy nearly abandoned picture-making before his career even started — holds the keys to so much of the master’s filmography. More similar to Woody Allen’s autobiographical “Radio Days” than it is to European art films such as “The 400 Blows” and “Amistad” (the more highbrow models other directors typically point to when re-creating their childhoods), “The Fabelmans” invites audiences into the home and headspace of the world’s most beloved living director, an oddly sanitized zone where even the trauma — which includes anti-Semitism, financial disadvantage and divorce — seems to go better with fresh-buttered popcorn.

SATURDAY AM UPDATE: With the exit of New Line’s adaptation of Stephen King’s Salem’s Lot in what has been a lucrative post Labor Day weekend pre-pandemic, Disney swooped in and booked its 20th Century Studios horror title Barbarian. That pic, directed and written by Zach Cregger, follows a woman staying at an Airbnb, who discovers that the house she has rented is not what it seems. The movie grossed $3.8M on Friday (including $850K Thursday night previews) and is poised to make around $9M, possibly double digits.

William Earl Zach Cregger has delivered one of the most twist-filled movies of the year with “Barbarian.” But perhaps the biggest shock to fans is that a member of irreverent sketch group Whitest Kids U’Know switched to horror so effortlessly. For Cregger, the two worlds are not far apart. “I don’t think horror and comedy are too dissimilar,” Cregger says. “The anatomy of a scare is very similar to the anatomy of a laugh. It’s all about timing and tone and zigging when the audience expects you to zag. I feel like my time in sketch comedy has equipped me to play in this pool.” Cregger got advice from a friend who had a similar trajectory: Jordan Peele, who went from sketch comedy series “Key & Peele” to directing his breakout feature “Get Out” and two other horror hits.

“Barbarian” is nasty. Whether you take that as a positive or a negative will be an entirely personal thing, but it’ll be a word that people on both sides of the opinion aisle will likely use to describe it.

Peter Debruge Chief Film Critic Imagine showing up for an Airbnb rental, only to discover that another guest is already there. What would you do? Check in anyway and hope for the best? Or take the mix-up as a sign and get the heck out? In “Barbarian,” Tess (Georgina Campbell) makes the wrong decision. It’s already late, and she decides to stay — this despite the fact that the stranger sharing the house is played by Bill Skarsgård (the actor who embodied Pennywise in the recent “It” remake). For audiences, this casting is a clue Tess is in for a scary stay. But it would be wrong to think you have “Barbarian” figured out. For Tess, there are plenty of other red flags in the way her unexpected roommate behaves. Should she really believe they double-booked the same place in a derelict Detroit neighborhood? Or is there another reason he’s there? What if he’s some kind of rapist or axe murderer? Is the flimsy lock on her bedroom enough to protect her should he turn violent? Tess does have certain survival instincts (she’s sharp enough to decline a drink from this guy, who calls himself “Keith”), and she has empathy, too, which will become kind of a defining characteristic later on, when things get super-crazy and you just want her to get out of town as fast as possible.

Peter Debruge Chief Film Critic In the era where content is king, Sam Mendes still believes in moving pictures. “Empire of Light” is the proof. While the world was in lockdown these past couple years, Mendes let his imagination run to his happy place: a grand old English movie palace he dubbed the Empire Cinema. Thousands pass through its Art Deco doors seeking escapism, but Mendes is more interested in the employees — the projectionist, the ticket-takers, the box office attendant and so forth, who collectively form an ersatz family — whose stories, he senses, are every bit as interesting as the ones they show. And so he put them up on screen where they belong. But “Empire of Light” is more than just Mendes’ homage to an endangered art form — in fact, it spends a lot less time valorizing the medium than you might imagine. He has assembled a terrific cast, trusting that these performers can go deeper than their dialogue makes explicit, whether it’s Olivia Colman (who can do anything) as the romantically frustrated theater manager Hilary or relative newcomer (and “Blue Story” breakout) Micheal Ward as Stephen, Mr. Ellis’ latest hire (in an unusually sleazy cameo, Colin Firth plays the boss).

Peter Debruge Chief Film Critic With a title like “Women Talking,” audacious actor-turned-helmer Sarah Polley’s fourth feature makes clear that it will be one of those rare films capable of passing the Bechdel test. That barometer, for those who may not know, poses three seemingly easy-to-meet criteria: (1) The movie has to have at least two women in it, (2) who talk to each other, (3) about something other than a man. It’s astonishing how many movies fail. Even Polley’s film, which consists of women talking for most of its 97 minutes, is a complicated exception, since most of the conversation — an urgent meeting among the wives, mothers and daughters of an ultraconservative religious colony — concerns the men. But even then, there’s no denying that “Women Talking” is unlike any film you’ve seen before, which is exactly what you’d want from the director of 2012’s astonishingly personal, format-shattering meta-documentary “Stories We Tell.” A decade later, Polley is back with another bold thought experiment, this one inspired by a horrific conspiracy of sexual abuse discovered within a Mennonite community about a decade ago.