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Fifty Shades Freed – Full Movie Watch Online Free, 720p, 4K, HD, 1080p Download

Fifty Shades Freed – Full Movie Watch Online Free, 720p, 4K, HD, 1080p Download

Fifty Shades Freed – Full Movie Watch Online Free, 720p, 4K, HD, 1080p Download

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And so, after three whip-cracking, handcuffing, sleep-inducing chapters of glossy dom/sub drama, the Fifty Shades franchise is finally coming to an end, or, as the wink-wink marketing keeps purring, a climax. In the final chapter, we’re giddy with questions that require an answer. Will two attractive yet underwritten characters keep having mildly kinky sex? And then, ermmmm, oh wait, that’s literally just it.

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The phenomenal success of the brand (the first two films have made a combined $950m at the worldwide box office) continues to fascinate those not fascinated with the books given that the only real tension hinges upon whether high-powered pretty boy Christian Grey and his doe-eyed sex slave will keep doing it or not. It’s a set of films that skirt around the trappings of an erotic thriller yet refuse to indulge in any of the lurid murderous plotting that usually goes along with it. There’s a staggering emptiness at the centre and even the supposed eroticism has been underwhelmingly restrained up until now. But with the end in sight, will Fifty Shades Freed finally provide the danger and the sex and the dangerous sex that we’ve all been waiting for?

After the non-events of the second film, Anastasia (Dakota Johnson) couldn’t be happier living the high life with her slap-happy lover Christian (Jamie Dornan). The pair get married but their honeymoon is cut short when a face from Ana’s past re-emerges to cause havoc. Christian must try to ensure her safety while also finding a way to manage her increasing independence within the confines of their discipline-heavy relationship.

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Any vague hope that the best, or rather least worst, was being saved until last is swiftly made futile by an opening sequence so alarmingly vapid that it feels like a parody. Every emotional beat for the first 15 minutes is dictated by a new materialistic discovery (Oh my God he has his own jet! Oh my God he has his own boat! Oh my God he has his own chef!). Christian appears to treat her like a competition winner with ADD, surprising her with his wealth in an attempt to keep her, and maybe us, entertained. It’s obscenely gratuitous lifestyle porn, so personality-free that it could be watched without volume in a hotel reception, and it’s gradually and inevitably interspersed with more softcore porn, so soft and so boringly frequent that I could almost feel a collective audience sigh every time they got naked again. While it definitely feels as though there’s more sex than usual, it usually involves an element that one can check off with crushing reliability (licking ice-cream off one another – tick; sex in a car – tick; sex with handcuffs – tick). It’s all so comfortable and well-lit, as though it’s directed by someone who’s never actually had sex.

The script, written by Niall Leonard, AKA the Fifty Shades author EL James’s husband, is just exactly what it is: a middle-aged man speculating as to how not only a young couple converse but also, bleakly, how young women interact with one another. There’s zero specificity in any of the bland scenes with Ana and her friends or female colleagues (“Are you OK? Do you want a latte?”) and, instead, Leonard uses what he’s learned about women from commercials (they love shopping, cocktails and bubble baths). The dialogue just exists. Its purpose is to slowly edge the feather-light plot forward rather than provide any depth or humor to any interaction. There’s more of an attempt here to add the loose outline of a thriller narrative to occupy the scenes when they’re not having boring sex but it’s of the daytime soap variety (at one point a character gets kidnapped outside a gym). There’s never any real danger or real emotion or real anything here, to be honest, it’s as if it’s playing in the background, and no one involved can be bothered to add color or life or even a frisson of passion.

As usual it’s left entirely up to the beleaguered Johnson to make any of it even remotely watchable. She remains a compelling presence, trying her darnedest with lifeless words, but, again, she’s stranded by the energy-sucking vortex of nothingness that is Jamie Dornan. He’s better than this (as he has shown with menace in The Fall) but he knows it and his boredom is lazily apparent throughout. Their relationship is also potentially fascinating in this chapter. How does a couple who have based their initial connection on a dom/sub dynamic exist within a marriage? But the film has zero interest in exploring the psychology of this with any complexity, instead offering up superficial proof that he’s empowering her (he lets her drive his car in one scene).

While the films have been quite remarkable in their stodgy dullness, it’s worth recognizing and applauding the significance of the the Fifty Shades saga. Franchise film-making, as widespread as it may be, is still largely male and superhero-centric and there’s something refreshing, and important on a business level at least, about a trilogy of female-focused romantic dramas being treated like event movies with the box office to match. There will, or rather should, be a lasting effect in Hollywood and other better, non-Marvel movies will hopefully be treated with the same grandiosity. It’s just a shame that we had to endure these brainless, plotless, loveless films to get there.

FIRST AUSTRALIAN REVIEW: Fifty Shades Freed ends the kinky sex saga on a passionless note

FIFTY SHADES FREED (MA15+)

Rating: one and a half stars (1.5 out of 5)

Director: James Foley (Fifty Shades Darker)

Starring: Jamie Dornan, Dakota Johnson,

Departing of the sleaze

Prepare to turn the lights way down low in the bedroom of your mind. Then set your expectations even lower.

The end to the most trouser-troubling trilogy in motion-picture history is upon us.

In this scene from the movie Fifty Shades Freed, see if you can find the suggestively phallic object. You have five minutes ... starting ... NOW.

In this scene from the movie Fifty Shades Freed, see if you can find the suggestively phallic object. You have five minutes … starting … NOW.Source:Supplied

That’s right, after the first two tempestuous movie kink-a-thons from author EL James seduced the world box-office and made off with over a billion dollars, Fifty Shades Freed is here to zip up, give you a quick peck on the cheek, and disappear.

The whole experience has been like a bad Tinder date that lasted three years.

The best that can be said of Fifty Shades Freed is that it offers the lasting relief of knowing the franchise won’t ever be calling for another hook-up.

In this scene from the movie Fifty Shades Freed, see if you can guess what Christian Grey (Jamie Dornan) and Anastasia Steele (Dakota Johnson) are about to do. You have five minutes ... starting ... NOW.

In this scene from the movie Fifty Shades Freed, see if you can guess what Christian Grey (Jamie Dornan) and Anastasia Steele (Dakota Johnson) are about to do. You have five minutes … starting … NOW.Source:Supplied

While the new movie has been rated by Australian censors as an MA15-plus, the feckless plotting of Fifty Shades Freed comes in at an IQ15-minus.

Dashing dominant doofus Christian Grey (Jamie Dornan) is still a mopey moneybags with mummy issues, while ditzy doormat Anastasia Steele (Dakota Johnson) is still there to be walked all over.

Any fresh developments? Well, Christian and Ana are now husband and wife. However, the heavy-breathing honeymoon for the sadomasochistic spouses is noticeably short-lived.

And not just because Ana has sprung the surprise she is pregnant. Or that Christian pettily reacts to the news as if someone stole his favourite pair of studded leather undies.

Dakota Johnson and Jamie Dornan in a scene from film Fifty Shades Freed

Dakota Johnson and Jamie Dornan in a scene from film Fifty Shades FreedSource:Supplied

Without going into too many specifics, a member of the unhappy couple’s inner circle will be abducted by someone with a stalker-ish grudge against Mr and Mrs Grey.

But not before we are treated to a fleshy fracas or two in Christian’s pimped-out perv-cave The Red Room, an unnecessary driving sequence or two brought to you by Audi, and a longform lovemaking scene brought to you by, I kid you not, Ben & Jerry’s.

Unbelievably, the spectacle of Dornan and Johnson using each other as ice-cream bowls ranks as only the second strangest scene in Fifty Shades Freed.

“Wanna go to the supermarket and check out the frozen confectionery section?” “Yeah. That sounds soooo hot!”

“Wanna go to the supermarket and check out the frozen confectionery section?” “Yeah. That sounds soooo hot!”Source:Supplied

(The one that takes the WTF cake is the bit where everything stops so Dornan can sing a ditty while playing the piano. Mark my words : Hugh Jackman will not be looking over his shoulder any time soon.)

So there you have it : you’ve been a naughty, naughty audience for ever giving the Fifty Shades phenomenon the right to exist.

So by all means, plonk your money down on Fifty Shades Freed, and cop the punishment you undoubtedly deserve.

Spank you very much.

Scene from the movie Fifty Shades Freed. Universal Pictures.

Scene from the movie Fifty Shades Freed. Universal Pictures.Source:Supplied

‘Fifty Shades Freed’ Review: Finally, a Sex Comedy From a Franchise That Took Itself Too Seriously

‘Fifty Shades Freed’ Review: Finally, a Sex Comedy From a Franchise That Took Itself Too Seriously

“Why do you defy me?” asks Christian Grey (Jamie Dornan) to his new wife Anastasia Steele (Dakota Johnson) as they have passionate sex with the help of handcuffs. “Because I can,” she replies, which only excites her partner more. Compared to how submissive and sapped of all agency the character was in her two previous outings, Ana does seem extremely mischievous in “50 Shades Freed,” the third and presumably last entry in this kinky franchise. Yet all in all, she’s only asking for the respect that she rightfully deserves. In any case, the mutual participation at play in this sex scene makes it a lot more exciting to watch than any of Christian’s theatrical BDSM tricks, and the rest of the movie follows suit. Finally, the “Fifty Shades” phenomenon has yielded a disarming comedy that makes this ridiculous material fun to watch.

In director James Foley’s second contribution to the cinematic brand extension of E.L. James’ bestselling series of erotic novels, the newly-married Ana is finally striving for more freedom in her relationship with her dominant partner. After the painfully one-sided sexual adventure of the first film, in which she met Christian and was brutally exposed to his odd habits, and after Christian’s even nastier control-freakishness in the ill-conceived “50 Shades Darker,” Ana is at last able to demand to hold the reins from time to time — a narrative turn that manages to frame their marriage as an empowering structure for women: now enclosed in the gilded cage of their union, Ana can pull on the rope that Christian had tied around her neck.

While honeymooning in Nice, she goes topless despite her husband’s possessive forbidding. At work, she tells Christian, “the boss of her boss of her boss,” that she might have to stay at the office later than planned. These moments of self-affirmation are both galvanizing and perplexing, hinting at a new feminist-leaning and more playful moment for Ana, while also being too insubstantial and out of character to constitute a true cause for celebration.

But the territory on which Ana asserts herself is, of course, the bedroom. She takes advantage of her new marital situation to blur the line between submission and control, teasing Christian sexually as much as she can. In other words, she introduces him to foreplay. By adapting its heroine’s perspective, the series displays a willingness to accept that sex can be a ridiculous proposition — and that concession rids this installment of the suffocating pomposity found in its predecessors. As it turns out, Christian’s treatment of sex in an overly serious manner had only served to emphasize its weirdness, making it disheartening and isolating for both consenting adults.

The previous films made that clear without critiquing it, often by portraying Ana’s distress in the hands of the domineering and uncommunicative Christian (a character who, admittedly, many readers and viewers find attractive). Alternatively, the films’ over-seriousness rendered  them self-divided enterprises. The sleek, dry style made even the most adventurous sexual acts seem ludicrous.

In “Freed,” by contrast, sex is often funny, because Ana wants it that way. She even makes Christian partake in the cliche of licking food off of a partner’s body — in a deliberate echo of the honey-dripping sequence in “9 ½ Weeks,” Ana finds a new application for Ben & Jerry’s ice cream and turns that famous sexual game into a more reciprocal exchange than it was in Adrian Lyne’s film. (Kim Basinger’s cameo in “Darker” and “Freed” as Elena, Christian’s long-ago sexual obsession, cinches the connection.) At this point, who would have thought that a “Fifty Shades” film, supposedly interested in the very alternative kind of sexual experimentation, would provide enjoyable (and maybe for some, even exciting) sequences of respectful and playful foreplay and oral sex?

Even more surprising: how this lighter approach to sexual intercourse seems to lift the spirits of the characters along with the tone. Johnson, radiant and committed, gives Ana a certain confidence and ease that she’d never had before, and Christian, the man of steel himself, proves he has a few decent jokes in him – though Dornan struggles slightly to portray that goofiness. In cinema as in sex, a dose of self-awareness can do wonders.

While seeing these two finally behave like lovebirds is thrilling, and even though those scenes of more conventional sex are surprisingly well crafted, the essence of the “Fifty Shades” series has always been the transgression of norms and indulgence in extremes, but that theme was underplayed until now. The disappointing quality of the first two films demonstrated that the material didn’t live up to its own would-be provocations. “Freed” is thus a notable departure, circling back around to more relatable domestic concerns. The most convincing trials that Ana and Christian face in marriage are those that any couple must to address: communication, calibrating their power dynamics, and the all-important work/life balance. To those concerns are added the return of a vengeful ex-boss, Jack Hyde (Eric Johnson), whose motivations remain vague and whose story arc is resolved in less time than it takes Christian to untie his wife’s ankle belts.

The ending will surprise no one, except for the way it echoes another love story currently showing in cinemas. Just as Ana teaches Christian to trust her by showing him how much he needs her  — both for sex and for life — Alma, the heroine of Paul Thomas Anderson’s “Phantom Thread,” eventually manages to harness her selfish husband Reynolds Woodcock by mechanically making him rely on her for his life. The degree of sarcastic awareness at play in both of these resolutions is the topic for another article. Nevertheless, it would seem that Ana and Christian will never be freed from the bondage of matrimony – and maybe that’s how they like it.

Film Review: ‘Fifty Shades Freed’

Film Review: ‘Fifty Shades Freed’
Director:
James Foley
With:
Dakota Johnson, Jamie Dornan
Release Date:
Feb 9, 2018

Rated R  1 hour 45 minutes

Official Site: http://www.imdb.com/title/tt4477536/

Every word is a safe one in “Fifty Shades Freed,” a Swarovski-dipped series closer that takes no chances, and spares no luxury expense, in giving Anastasia Steele and Christian Grey the dream wedding and nightmare honeymoon period their fans have been anticipating for years. Departing only incidentally from E.L. James’s trashy tome, and making up for any short cuts with extra set dressing, this is brochure cinema of the most profuse order, selling its audience more on a lifestyle than on any of the lives inside it. What began, however glossily, as an ambiguity-laced power struggle between two people from separate social and sexual worlds has devolved into a far less intriguing victory lap for an exquisite couple that wants, and can afford, most of the same things — at least until the pesky matter of baby-making gets in the way.

Even as it administered a patchouli-scented dose of fan service to James’s hungry readership, 2016’s “Fifty Shades of Grey” was a brittle, brisk surprise, refashioning the book’s lilac prose into a warped romantic comedy of personal boundaries, with S&M as the bargaining currency between Anastasia and Christian — played by Dakota Johnson and Jamie Dornan with a wary, push-pull dynamic. When director Sam Taylor-Johnson and writer Kelly Marcel made way, respectively, for James Foley and James’s husband Niall Leonard for “Fifty Shades Darker,” the result unsurprisingly hewed closer to the author’s original gushing vision, with sexual politics that were less thorny and, for all the steam generated on screen, more conservatively patriarchal.

Interesting as it would have been to see a third creative team take the finale up yet another tonal alley, Foley and Leonard unsurprisingly keep “Freed” bound to its source. With Mrs. Grey now mostly in her husband’s gilded grasp, the series’ former tart strain of battle-of-the-sexes comedy has bled almost entirely out of the enterprise, while even our heroine’s sporadic moments of defiance don’t stray far from a plush wish-fulfilment agenda.

But oh, what pretty wishes! And what princely fulfilment! “Fifty Shades Freed” begins where most romances of its ilk would reasonably end: with rich, dewy nuptials fit for a Vanity Fair spread. Quavering vows are exchanged against a wall of antique-blush roses; John Schwartzman’s camera gorges in crystalline close-up on every last silver cufflink and shred of Chantilly lace.

Taking the film on its own material terms, there’s a perverse frisson of pleasure — of sweet, egregiously unequal justice — to be had in watching two people this immaculately beautiful finally unite in quite such accordingly beautiful fashion, and it’s here where James (once more acting as producer) and the filmmakers have us right where they want us. “You own this?” Anastasia asks, gawping at the private jet waiting to whisk them off on a Côte d’Azur honeymoon. “We own this,” her husband smirks in reply, as the film practically pauses for our applause, and maybe even a rosewater tear, at the shared privilege of it all. How far they’ve come.

What this spectacle doesn’t leave us, however, is much road for this relationship to travel in the happy couple’s souped-up, product-placed Audi speedster. James’s trilogy may consume over 1,600 pages of type, but it’s hard to shake the feeling from an early point in “Fifty Shades Freed” (the series’ shortest entry at a light, padded 105 minutes) that perhaps there weren’t quite three films in it. As Anastasia and Christian argue back and forth with only minor variations over admittedly major points of contention — his possessive nature infringing on her charmed career, their disagreement over when to start a family, whether she should remove her bikini top on the beach or not — Leonard’s lumpen script zeroes in on a tinny thriller subplot, centered on the violent, mysteriously vengeful stalking of Anastasia’s smarmy ex-boss Hyde (Eric Johnson) as the main attraction.

This is the terrain for which Foley, at his best a slinky genre stylist with a tobacco-acrid edge, was presumably brought on board, and he gives it a bit of vim: A luxury-vehicle car chase, screeching and weaving at arrogant speed along the highways of Seattle, is a set piece that rattles in the mind longer and louder than the who and why of it all. He can’t do much, however, to juice up a thin, illogical abduction climax that at least gives an admittedly gagged dramatic function to pop star Rita Ora — little-used but zappily charismatic as Christian’s sister Mia, the only member of this marble-clad family you’d conceivably want to hang with for reasons other than sheer monetary osmosis. In a series so obsessively dazzled by its central couple that even actors like Marcia Gay Harden and Jennifer Ehle are reduced to subservient stick figures in their orbit, that’s an accomplishment.

The trouble with this tunnel vision is that, by round three, there’s nothing left to discover in Anastasia and Christian — characters who, even at their most engaging, weren’t exactly Chekhovian to begin with. With the root of his sadism, her masochism and the mood music their combined issues make together all adequately explored, we’re left mostly rehashing old tensions that, with familiarity, have gone a little slack.

Johnson, so wonderful in the first film, made a game fist of her character’s more capricious conception in the second. This time, her inherent likeability as a performer is all that’s keeping Anastasia, a notionally independent career woman who veers between seething assertiveness and spineless compliance at the script’s will, from sliding off the screen entirely. The extent of Christian’s development, meanwhile, is summed up by the film’s most inadvertently amusing line, delivered by yet another peripheral admirer in his employ: “That GQ profile on you? I love what you’re doing in Africa.” (Dornan even gets a chance to croon Paul McCartney’s “Maybe I’m Amazed” at the piano, just to prove just what an awakened heart beats beneath all that bespoke pewter-colored tailoring.

And what of the sex? Perhaps the lone surprise of “Fifty Shades Freed” is just how incidental its erotica has become: There’s no shortage here of lightly spiced bump and grind, staged and shot with salted-caramel smoothness, with nothing more than Johnson’s nipples or a fleeting brush of Dornan’s pubic hedge to prickle delicate sensibilities. But where the first film’s sex scenes, however tame in the grand scheme of things, were integral to setting the terms and tone of the relationship under scrutiny, by this point they’re mostly just (very) attractive digressions, while the once-tremulously mentioned Red Room of Pain has become merely another indulgent facility at Casa Grey, not to mention a handy spare bedroom in the event of a soon-resolved marital squabble. It’ll be a nursery before you know it.

Indeed, a sex-free, PG-13 version of “Freed” could be cut without shedding a second of narrative coherence, such as it is; one could ask what the point of that would be, though similar queries might be leveled at the film as it stands. Intentionally or otherwise, however, perhaps there’s a rueful truth to the gradual dwindling of the films’ kink levels: Sex is just a thing Anastasia and Christian do now, as it is for many a married couple until, in some cases, it eventually isn’t even that any more.

Finally, the film closes with fat French kiss to its fans: a creamy montage of memorable moments from the whole series — mostly, let it be said, from the first two films — scored to a light remix of “Love Me Like You Do,” Ellie Goulding’s soaring pop belter from “Fifty Shades of Grey.” (The new film’s theme, a comparatively generic number by Ora and Liam Payne, isn’t given quite such pride of place.) If that highlight reel is fresher and more vivid than the agreeably silly cashmere diversion that precedes it, it’s hard to begrudge the happy, horny couple a pleasantly boring life together. (Anti-capitalists can begrudge them everything else, but that’s another story.)

Is “Fifty Shades Freed” a wily takedown of married bliss, or at least an acknowledgement that it makes the wildest among us a shade less exciting? Almost certainly not, to go by the contented sighs and cheers that greeted the finale’s dreamily domestic flash-forward at its premiere. Still, it’s fun to imagine this ritzy, ultimately rule-abiding film being at least that provocative.

Film Review: ‘Fifty Shades Freed’

Reviewed at Salle Pleyel, Paris, Feb. 6, 2018.

Production: A Universal Pictures presentation of a Michael De Luca production in association with Perfect World Pictures. Producers: Michael De Luca, E.L. James, Dana Brunetti, Marcus Viscidi.

Crew: Director: James Foley. Screenplay: Niall Leonard, adapted from the novel by E.L. James. Camera (color, widescreen): John Schwartzman. Editors: Richard Francis-Bruce, Debra Neil-Fisher. Music: Danny Elfman.

With: Dakota Johnson, Jamie Dornan, Eric Johnson, Rita Ora, Luke Grimes, Victor Rasuk, Jennifer Ehle, Marcia Gay Harden, Eloise Mumford, Max Martini, Arielle Kebbel, Brant Daugherty, Amy Price-Francis, Tyler Hoechlin.

Hailee Steinfeld Talks ‘Fifty Shades Freed’ Track & Working on Her Next Album

Hailee Steinfeld Talks ‘Fifty Shades Freed’ Track & Working on Her Next Album
Hailee Steinfeld performs onstage during Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest 2018 on Dec. 31, 2017 in Los Angeles.

Hailee Steinfeld is gearing up for the release of Fifty Shades Freed, which features her latest tune, “Capital Letters,” and the suspense is just killing the “Let Me Go” singer.

“I can’t say much about it,” she told Billboard while hinting that her song is paired with a scene that is equally romantic and action-packed. “It covers a lot,” she revealed at Thursday night’s (Jan. 18) season debut of Lip Sync Battle, which had her channeling Michael Jackson during a full-episode tribute to the King of Pop. Steinfeld also divulged that she recently shot a music video for the tune. “It’s coming out soon and I’m really proud of it,” she said.

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The “Capital Letters” teaser, which Steinfeld recently posted on her Instagram page, gave fans a glimpse of her dreamy vocals over a synth heavy backdrop. “One thing I love about the production in this song is that it feels big. It feels very cinematic. I love that feel, especially as an actor. I feel like music has the power to feel like a movie itself in the two minutes that you hear it,” she explained, noting that she plans to channel more of that cinematic vibe into her upcoming musical endeavors. “I worked with BloodPop on the record. He’s one of my favorite producers and I’ll be working with him on some more music as well.”


The Pitch Perfect 3 star is currently in the studio piecing together her sophomore album. “I’m working on a follow-up — I’m working on more than a follow-up. The next body of work is in the works I guess you can say,” she explained. And she’s having a blast experimenting with her sound. “It’s crazy how it feels like I can say that I’m fully in album mode but there is still so much trial and error that I’m involved in. That’s the fun of it I guess. It’s a constant evolution [from the style on her 2015 debut release, Haiz].”

The actress recently announced that she’ll be accompanying Charlie Puth on a series of dates, which kick off on July 11th in Toronto. “I am very much looking forward to touring with Charlie!” she exclaimed. “I think it’s going to be so much fun. And I really just can’t wait to get back out on the road again.” Her music may be hitting the charts, but Steinfeld is still getting used to the touring life. “It really is a lifestyle of its own and I’ve really only done it once,” she admitted. “But I’m looking forward to making this the best show of mine so far. I can’t wait!”

How Much Fifty Shades Freed Could Make Opening Weekend

How Much Fifty Shades Freed Could Make Opening Weekend

Love it or hate it, the Fifty Shades franchise is big business. The books were a phenomenon and the first two film adaptations have combined to gross almost a billion dollars worldwide. Despite declining enthusiasm and box office returns, the final film in the franchise (for now), Fifty Shades Freed, is set to dominate its domestic opening weekend and deliver solid box office returns heading into Valentine’s Day.

Early tracking is predicting that Fifty Shades Freed should win its opening weekend with a performance of about $37 million, according to Variety. The franchise has been a serious threat on Valentine’s Day weekend in both 2015 and 2017, with Fifty Shades of Grey and Fifty Shades Darker debuting to $85.2 million and $46.6 million respectively. While Fifty Shades Freed probably won’t even match its predecessor, it should still whip its competitors to win its opening weekend.

Tracking shows 74% total awareness of the film and 26% definite interest, and I imagine that interest in the film will only increase as we get closer to Valentine’s day and everyone squares away their holiday plans. Perhaps when all is said and done Fifty Shades Freed will have pushed the franchise over that magical $1 billion mark, and proved just how much sex sells in mainstream movies.

The weekend that Fifty Shades Freed opens is actually quite an interesting one. And similar to last year, there is some interesting counter-programming going on. Last year Fifty Shades Darker faced off with The LEGO Batman and John Wick: Chapter Two. So couples had some poetic violence and heartfelt humor if whips and chains weren’t their speed. But this year offers far different options.

Debuting opposite Fifty Shades Freed is Sony’s Peter Rabbit and Clint Eastwood’s The 15:17 to Paris. Early tracking puts Peter Rabbit at around $18 million for its opening weekend, and The 15:17 to Paris at $10 million.

I feel like there will be even less overlap in interests between these films than last year. Peter Rabbit looks like it might only appeal to little kids whereas all ages could enjoy LEGO Batman. The patriotic true story, starring the real life heroes, The 15:17 to Paris has the potential to pull in an older crowd, but definitely doesn’t strike me as a date movie.

The climactic final chapter in the Fifty Shades series promises more thrills and action this time around, with guns, car chases and fistfights. But make no mistake, this franchise knows exactly what its fans want and I’m sure they’ll leave you satisfied. Fifty Shades Freed stars Dakota Johnson and Jamie Dornan and is directed by James Foley. Fifty Shades Freed slips its way into theaters on February 9th. For all of the biggest movies hitting this year, with varying degrees of nudity, check out our release schedule.

Rita Ora Dishes on Duet with Liam Payne, ‘Fifty Shades’ Movie and More!

Rita Ora Dishes on Duet with Liam Payne, ‘Fifty Shades’ Movie and More!

Pop sensation Rita Ora dished on her duet with Liam Payne, the final 50 Shades movie and more in this exclusive interview with Us Weekly.

The “Black Widow” songstress, 27, whose duet “For You” with Payne, 24, is topping the Billboard Hot 100 chart, admits that while she hasn’t released new music in recent years — the star does not consider this a comeback moment. “I don’t feel like I’ve kind of gone anywhere or taken a break. I definitely put my fingers in a lot of pies before I put music back out with the TV shows and things like that. I just think that this is just a great time because I was super excited but so nervous to put out new music,” Ora, who parted ways with Jay Z’s label Roc Nation in 2016, explained to Us. “There were times when I felt like am I gonna actually be able to put out music that I loved again, ever again? There were really dark times in my life.”

The blonde beauty, who is excited to embark on her upcoming, sold-out tour later this year added: “It’s so lovely to see the [fans] still sticking with me. And I’ve made some new ones, you know, along the way. So, [I] can’t wait to just go out there and just see everybody and get on the road and sleep in a tour bus, and perform like a brand new band. It’s going to be so fun.”

liam-payne-rita-ora
Liam Payne and Rita Ora pose for a photograph as Liam Payne and Rita Ora visit KISS FM at Bauer Radio on January 12, 2018 in London, England. Chris J Ratcliffe/Getty Images

Adding to the fun, the former America’s Next Top Model host opened up about working with the One Directioner. “We got to record [“For You’] in the same studio, which unfortunately doesn’t happen in today’s age of music. Everything is sent through an email or Dropbox, so it’s really cool that we got to record it together,” the former X Factor personality said of the chart-topping single included on soundtrack for the upcoming film Fifty Shades Freed featuring Ora as Mia Grey. 

Of the film’s plot, the star told Us: “It’s definitely a little bit more scary because I get kidnapped and Dakota Johnston’s [character] goes out on a mission to save me.”

She added: “I was really sad filming the last scene, It’s done so well [and] I’m excited for it to come out.”

Meanwhile, Ora, who is a refugee from Kosovo (her family was forced to flee the country when she was one to the U.K.), partnered with Absolut to work on The Open Mic Project – “a platform for amplifying and uniting the voices of people across the nation to spark a much-needed change in today’s conversation.”

“I have an amazing personal experience with acceptance. Being able to achieve my dream —  doing my dream job and loving every minute of it, I wanted to find another way to relate to my fans,” the fashion icon told Us.

The songwriter, who credits fan submissions with helping her write “Proud” added: “[The partnership] was definitely an amazing way to connect with my fans. It was a perfect time for me to just give something back to other platforms for people that may not have one.”

With reporting by Marc Lupo