The Netflix app for iOS supports AirPlay, a proprietary protocol stack developed by Apple, which allows wireless streaming between devices of multimedia content. This means that you can stream Netflix movies and shows from your iOS devices to any AirPlay-enabled devices over local Wi-Fi. And because the app also supports offline downloads, you have everything you need to enjoy Netflix offline on your Mac. Well, almost everything. You also need an app like AirServer so you can receive AirPlay streams on your Mac.
But women in their 40s have been the top users, and the No. 1 genre of downloaded media is harlequin romance, Mr. Potash says. Pop-fiction, mystery, science fiction, self-help, and books that teach a foreign language round out the most-borrowed list.
This Weekend book the movie download
With your LA County Library card, access FREE library resources on your computer or device. Download or stream eBooks, audiobooks, magazines, movies, and more! You can also get help with your homework, learn a language, or take an online class!
With your LA County Library card, you can download or stream eBooks, eAudiobooks, magazines, music, and movies on your computer, tablet, or phone. It's free and you'll never have to worry about overdue fines! You'll need a library card in good standing and a PIN to access most downloadable & streaming content.
The Californiana Collection consists of over 24,000 books and over 200 magazine and newspaper titles in paper and on microfilm as well as a collection of state documents including state and county budgets. The goal of this collection is to present a complete picture of the history, culture, environment and artistic expression of the people of California and to some extent, the western United States.
A huge quantity of books previously unavailable to the public was released starting in 2019 thanks to the Sonny Bono Copyright Term Extension Act of 1998. Because of an amendment to that act, works published between 1923 and 1977 can enter the public domain 95 years after their creation. Many of the sites listed below give access to the tens of thousands of books (plus movies, songs, and cartoons) available under this act. Downloads should be free and without retribution under U.S. copyright law.
With Netflix being the biggest subscription service on the planet and more than a billion Apple devices in our hands, many are surprised to find out that there's no Netflix app for Mac. And as there is no Netflix app for Mac, many paid subscribers aren't able to download their favorite series and movies, hence are missing out on being able to watch Netflix offline.
If you've seen advertisements splashed across the internet saying that you can download Netflix app for Mac, they are a scam. Often these dodgy tech traps involve installing malware onto your Mac, which will leave the operating system looking like a scene from a horror movie.
Go Into the Story is the official blog for The Blacklist, the screenwriting community famous for its annual top ten list of unproduced scripts. One useful feature of Go Into the Story is its bank of downloadable movie scripts.
Six years later, there are those who rather love this cult picture who swear that a sequel will bring in the kind of numbers that this reboot never did. But while the reviews were surprisingly solid, the Lionsgate release, R-rated and in 3D, proved that the second time was not the charm for this British comic book saga. Dredd became a classic example of Comic-Con buzz not translating to mainstream appeal. In terms of budget versus worldwide gross, even the reviled 1995 Sylvester Stallone entry ($113m on a $90m budget) was a bigger success, although both were incontestable flops.
If Batman & Robin didn't set the record for the biggest second-weekend plunge back in 1997 (and it was just 48th at the time), it was surely the most high-profile movie to ever dip below the dreaded 60% mark. We like to blame the Internet for killing the Joel Schumacher sequel, but it still debuted with one of the top-ten biggest debut weekends of all time back in June of 1997. So, to paraphrase that famous closing line, it wasn't the Internet that got him, it was word-of-mouth that killed the beast.
This is the first film on this list that is unquestionably a hit, and it won't be the last X-Men movie we see here today. As long-lasting as the X-Men franchise has been for 20th Century Fox, they have some of the worst legs of any major franchise outside of the Harry Potter and Twilight films. Even with eight years of inflation and a 3D bump, this film still couldn't reach the opening weekend and domestic total of X-Men: The Last Stand ($102m/$234m), although its $748m worldwide cume (and smaller second-weekend drop) surely made up for it.
This is another example of a movie that took a big drop but was still a (comparatively) leggy hit. Deadpool 2 earned solid reviews and a superb $126m Fri-Sun frame, but (for the second year in a row) the Memorial Day weekend did not provide a cushion for a big Fox franchise title. Nonetheless, unlike Alien: Covenant, the Ryan Reynolds flick stuck around and ended up with a solid 2.5x weekend multiplier and a domestic gross essentially tied with the unadjusted domestic finish of Iron Man. If Venom sinks like a stone this weekend, I imagine Sony will be pointing at Deadpool 2 as a reason not to panic. And they would be right to do so.
Okay, so the lightning fast collapse of this second Tim Story film is probably part of what led Fox to not go forward with the franchise. In retrospect, it's a classic Tomb Raider Trap scenario, as this sequel was arguably a better film than the first but only the die-hards showed up, with casual audiences sitting it out or catching up with it on DVD or Blu-Ray due to their indifference towards the original. Still, I bet Fox would love for a $287m worldwide cume for their current Fantastic Four movie, to say nothing of that $58m debut weekend.
It is a little ironic that the two biggest grossing X-Men pictures, both here and abroad, also suffered the largest second weekend declines of the 15-year old franchise. This third film scored what was at the time the fourth-biggest Fri-Sun debut of all time over Memorial Day 2006, but Memorial Day does not tend to be a terribly leggy weekend on which to launch. Fan hatred for this Brett Ratner entry, which was rushed into production to beat Bryan Singer's Superman Returns to theaters, has clouded the notion that this was once by-far the most successful X-Men film of all. Of course, I can say the same thing about Spider-Man 3, which is still the most successful, and probably will forever be the most successful Spider-Man film.
The original Kick-Ass was not a monster hit, operating as a classic example of Comic-Con hype not necessarily translating into mainstream interest. But the film still made around $98 million worldwide on a $50m budget, so the franchise became one of Universal's many hand-me-down franchises. But piss-poor reviews and viewer indifference sunk this ship. The fans showed up on opening weekend, accompanied by no one else, and nobody liked what they got and the floor fell through. The first film is a solid look at real-world crime fighting and the morality of public interference. But this terrible sequel had nothing to offer except muted shock value, and thus it was gone from theaters in a flash.
Like Green Lantern, this was a case of a major cult comic book movie opening to what should have been blockbuster numbers but getting tagged as a whiff anyway. And again, the writing was on the wall. Zack Snyder's faithful-to-a-fault adaptation of Alan Moore's classic graphic novel barely pleased the fans and offered little to those not already in the fold, so it dropped like a stone, barely cracking $107 million from a $55.2m debut weekend. The film's $185m worldwide total wasn't nearly enough for the $130m film. Although in retrospect, it's a credit to Warner Bros./Time Warner Inc. that they opened a 2.75 hour, hard-R, ultraviolent comic book epic based on a cult title to $55m in the first place.
Yes, I am counting the film's full opening weekend, including the $12 million worth of Thursday previews that inexplicably were counted separately this time out. This superhero reboot scored the second-biggest debut ever for a non-sequel (behind The Hunger Games) and what at the time was the biggest June debut. But mezzo word-of-mouth and surprisingly robust competition in the form of World War Z ($66m debut) and Monsters University ($82m debut) proved too much for Superman. The film was a hit to be sure ($668m worldwide on a $225m budget), but lukewarm reception led to turning the would-be Man of Steel 2 into what is now Batman v Superman: Dawn of Justice.
As I wrote last month, Jennifer Garner's career as a leading lady never really recovered after this legendary whiff, which is a shame as it was something of a contractual obligation. This Daredevil-spin off is indeed terrible, and its artistic failures (it's cheap, it's small-scale, it feels watered-down) are dwarfed by its overall failure (it earned just $53m on a $43m budget) and its impact in terms of female-centric superhero movies. In short, this was the last outright comic book superhero movie centered around a woman. And really, there have only been three so-called "big" ones, Supergirl, Catwoman, and Elektra. Heck, if you count non-superhero comic book movies with females, that still only gets you Barb Wire, Tank Girl, and Red Sonja. As bad as that track record is, it's hard to defend Hollywood's skittishness when the Hitman video game is getting another shot at a franchise.
Speaking of gender inequities, Josh Brolin, arguably through no fault of his own, is constantly given major leading roles and would-be franchise opportunities (for which he usually delivers strong performances) while proving again and again that he cannot open a movie. And this heavily reshot, uber-troubled comic book production is a prime example. So disastrous was this Mark Neveldine/Brian Taylor production that we didn't even get a trailer until six weeks until the release. As much as I love the notion of not spending a year offering a stream of marketing materials, this one had the stench of doom all over it. And the final cut, barely comprehensible, ran just 73 minutes before credits. Ironically, there is a kernel of a frighteningly ahead-of-its-time idea (the fears of a militarized Tea Party type terrorist organization), but the film itself is something of a wash. 2ff7e9595c
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