Taking the fax from the butler, Murphy quickly glanced over it before handing it to the eagerly awaiting Gal Gadot. She had already risen from her chair and skimmed through the document.
The butler, sensing the moment, discreetly left.
Just by seeing the numbers, a wide smile spread across Gal Gadot's face.
"Wonderful!" She looked up at Murphy, beaming with joy. "We broke the record!"
Murphy nodded, smiling. Such a record-breaking box office performance was undeniably exciting.
Gal Gadot, seemingly emboldened, announced loudly, "In 3,855 North American advance screenings, 'The Dark City' grossed $45.8 million!"
"Congratulations, Mr. Stanton."
The servants in the living room, aware of their employer's new film release, offered their congratulations.
"Congratulations, Miss Gadot."
"Thank you." Murphy always treated them well.
In high spirits, Gal Gadot said, "Everyone's bonus for this month will be doubled."
Gal Gadot managed the household affairs, and Murphy did not interfere. Besides, having set a new North American advance screening box office record, his mood was equally good.
The fax from Carla Faith at 20th Century Fox revealed that "The Dark City" grossed $45.8 million from advance screenings yesterday, breaking the previous North American advance screening record of $43.5 million set by "Harry Potter and the Deathly Hallows – Part 2." It was a victorious start!
Of course, aside from the advance screening record, most other North American box office records were held by last year's "The Avengers," which achieved a series of remarkable feats.
Murphy had thoroughly studied "The Avengers" and found that its North American records included: the first film to surpass $200 million in its opening weekend ($207 million); highest second-weekend gross ($103 million); highest Saturday gross ($69.5 million); highest Sunday gross ($57 million); fastest to $200 million (3 days); fastest to $300 million (9 days); fastest to $400 million (14 days); fastest to $500 million (23 days)…
It was no exaggeration to say that Marvel's "The Avengers" was a record-breaking machine last year.
But Murphy and 20th Century Fox were aiming to break this series of commercial box office records set by "The Avengers" in this summer season.
"At least in terms of pre-sales, we are way ahead of 'The Avengers' during the same period!" Gal Gadot said confidently. "Our reputation is also strong. 'The Dark City' received an A+ CinemaScore from theater audiences, and the authoritative MetaCritic rating from 45 media outlets currently averages at 89, far exceeding 'The Avengers'..."
"It's still too early to say," Murphy remained calm. He checked his watch. "It's about time we got dressed and headed out."
They were scheduled to participate in a Fox TV program. Initially set for the following day, sudden changes forced the recording to be rescheduled to today. Hence, Murphy and the crew had hurried back from New York last night.
Meanwhile, as more audiences watched "The Dark City," the film's reputation skyrocketed. Especially on the internet, Murphy and 20th Century Fox didn't even need to mobilize internet trolls or black fans. Most viewers, having seen the film, voluntarily turned into promoters, wholeheartedly recommending this masterpiece to others.
"Praising 'The Dark City' any more is unnecessary!"
"It's very Murphy-esque, starting with a slow narrative, gradually pulling the audience into his crafted world, and then exploding in the end, giving an exponentially mind-blowing experience. Absolutely unmissable!"
"This is a truly explosive work. Murphy thoroughly portrays the darkness of human nature. The film's music matches the intense and thrilling rhythm of the movie perfectly, keeping you on edge every step of the way. The final uplifting conclusion makes it a unique action film!"
"'The Dark City' is the kind of movie that once you start, you can't stop watching!"
"As an action film, it features the superb performances of the magician and Jay Rachel, and thrilling realistic action scenes. But it also delves deep into human nature, moral dilemmas, the hypocrisy of morality, and the necessity of pragmatism. It's a movie that stays with you long after watching!"
"Murphy's film, with its tightly paced plot and seamless structure, instantly outclasses other commercial films. The magician is the true star!"
In less than a day, the overwhelming positive reviews for "The Dark City" spread like a virus across every corner of the internet.
Not just ordinary fans, even typically contrarian highbrow critics surrendered to this film.
In this regard, "The New Yorker" was a prime example, with its column critic Richard Brody representing it.
In the latest online edition of "The New Yorker," Richard Brody wrote an extensive review of "The Dark City." Unlike his usual sharp and biting tone, this review was filled with high praise for the film.
"'The Dark City,' which balances entertainment and art, is destined to be immortal in film history!"
Such a title from this notoriously acerbic critic was enough to attract many readers.
"If you ask what makes a film a masterpiece, Murphy Stanton's 'The Dark City' is my unreserved choice! On the dark evening of May 3, 2013, I was thoroughly shaken for the first time in my life—not just visually and aurally, but emotionally! If not for the boredom that led me to check the latest film releases, who knows how many years would pass before I could put aside my prejudice against big commercial films. Murphy Stanton's new work has shown me that the once-mundane popcorn film can be so intoxicating!"
"I completely agree with a colleague's view: Murphy Stanton has indeed elevated summer blockbuster films to a new height!"
"This deeply realistic black crime film is incomparable to the bombastic popcorn movies. Its depth, oppression, and darkness resemble an intense crime drama. Remarkably, the film's pace is well-balanced, the script meticulously arranged, with no dragging—this is evident in the scene transitions. Yet, the plot isn't overly complicated to understand. Lacking the talent to fully comprehend Murphy Stanton's deep meanings, this review can only offer a shallow analysis."
"Firstly, the film reflects human nature. If the murderous magician represents the darkness of human nature, then the vigilante 'Dark Knight' represents the light. New York, a corrupt and filthy metropolis, riddled with gangs and drugs, is falling apart. The magician excels at provoking the dark side of human nature, using it to make robbers turn on each other, inciting people to kill one person to avoid blowing up a hospital. His trump card is exploiting human evil, corrupting the 'Light Knight' Jay Rachel. But this city's hope isn't extinguished; both the heinous criminals and the innocent citizens choose not to blow up the other's boat to save themselves, showcasing the brilliance of human nature and deeply moving the audience."
"Secondly, the film emphasizes the rule of law. This is the most prominent realistic aspect, as Murphy Stanton explores the legality of Chris Dane's Dark Knight from the start. Jay Rachel, representing legal justice, discusses democracy with Chris Dane and his team over dinner. During the chase and interrogation of Liu and other criminals, law is constantly referenced. The ending elevates the theme, delving into the ultimate exploration of the rule of law."
"It is because of the law that Jay Rachel's downfall, if exposed, would result in the release of all the criminals she captured. Only the extrajudicial 'Dark Knight' can bear this burden, enduring suppression, pain, and tragedy alone to ensure justice prevails. Although this dark conclusion contradicts the spirit of the law, it leaves New York in light."
"Finally, there's the madness. Hugo's 'principle of contrast between beauty and ugliness' has created classics; a great villain can make a masterpiece. The magician's greatest principle is having no principle, incessantly babbling about his insane philosophy and diverse magical career. He hopes Chris Dane will kill him and places his plan on a bet, reaching the peak of madness, hoping for the world's collapse. James Franco, the maverick in Stanton's group, plays this eerie yet humorous role, drawing inspiration from various sources and even developing a unique laugh, destined to become a classic in film history!"
"Hollywood's top director Murphy Stanton has once again demonstrated his extraordinary dramatic prowess and storytelling skills. This film uses no extraordinary narrative techniques, yet it makes the story fascinating. His cinematographer, Phedon Papamichael, uniquely blends IMAX 70mm film and standard 35mm film, perfectly showcasing the dark tone and oppressive atmosphere. Hans Zimmer, the master composer, after 'Pearl Harbor,' 'Pirates of the Caribbean,' and 'Gladiator,' has delivered another popular score, brilliantly crafting the epic's tragic heroism, together with Murphy Stanton's story, has overwhelmed me with its conquest!"
"In the end, Chris Dane's final words, combined with montage, offer profound philosophical reflections. Then, through Sheriff Lynch's mouth, it's highlighted that the Dark Knight is blameless in the eyes of innocent children, and as a hero, he must endure slander and pain. The film concludes with a backlit riding shot, followed by the title with Hans Zimmer's majestic score, genuinely possessing a soul-stirring power!"
Although not as famous as the late Roger Ebert, Richard Brody had a significant influence among older film enthusiasts, and his review could attract a group of viewers to "The Dark City."
All day Friday, theaters screening "The Dark City" were bustling, a phenomenon quickly spread through Fox's multimedia platforms. Observers clearly saw that "The Dark City" was bound for an extraordinary opening day at the box office.
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