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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007

1-20 of 67 items from 2017   « Prev | Next »


Amazon’s ‘Landline’ Leads Specialized Releases, Followed by Indian Rom-Com ‘Fidaa’

1 hour ago | Indiewire | See recent Indiewire news »

As “The Big Sick” crosses over to 2,500 theaters and “Dunkirk” takes up all the oxygen as the best-reviewed film of the year, this is a quiet moment for specialized releases. Here’s where they stand.

Read More‘Landline’ First Trailer: Gillian Robespierre and Jenny Slate Reunite For A Must-See Summer Indie

Opening

Landline (Magnolia) Metacritic: 65; Festivals include: Sundance, San Francisco, Seattle 2017

$52,336 in 4 theaters; PTA (per theater average): $13,084

Amazon brought Magnolia on board to handle theatrical on this Sundance acquisition, a complicated family drama about adult kids dealing with parental infidelity and sibling dynamics, with an eclectic cast including Edie Falco, John Turturro, and Jenny Slate. Opening in four top New York/Los Angeles theaters, this scored the best numbers for the weekend but otherwise not especially impressive. Saturday grosses fell slightly from Friday (in-person appearances were a likely factor).

What comes next: Magnolia adds 35 new dates this Friday »

- Tom Brueggemann

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‘Lady Macbeth’ Murders New Specialty Openers with Modest Box Office

16 July 2017 9:52 AM, PDT | Indiewire | See recent Indiewire news »

Well-reviewed erotic period thriller “Lady Macbeth” (Roadside Attractions) led the new specialized limited lineup. But a below-$15,000 start at five major New York/Los Angeles theaters came in well below other stronger recent debuts.

With studio sequel “War for the Planet of the Apes” nabbing better-than-usual critical response (watch out for “Dunkirk” this week) and many popular films expanding, it’s getting tougher for even acclaimed new films to stand out.

Two top Sundance premieres — U.S. Narrative Competition title “To the Bone” and U.S. Documentary Audience Award winner “Chasing Coral” — both premiered on Netflix along with limited theatrical play. As usual for the company, the grosses went unreported.

Opening

Lady Macbeth (Roadside Attractions) – Metacritic: 78; Festivals include: Toronto 2016, Sundance 2017

$68,813 in 5 theaters; PTA (per theater average): $13,762

This low-budget 19th-century adultery drama’s roots are closer to “Madame Bovary” and “Lady Chatterly’s Lover” than Shakespeare. With its bodice-ripping appeal, »

- Tom Brueggemann

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Sense and sensibility by Anne-Katrin Titze

10 July 2017 2:26 AM, PDT | eyeforfilm.co.uk | See recent eyeforfilm.co.uk news »

Blind director Michael Mailer with producer Jennifer Gelfer and Anne-Katrin Titze Photo: Kim of Orlin

In the past few months, Alec Baldwin has starred with Diane Lane in Eleanor Coppola's Paris Can Wait (which has its UK première at the Edinburgh International Film Festival), had an Unbound conversation with Anna Sale at the Bam Howard Gilman Opera House for the book launch of Nevertheless: A Memoir, continued to portray Donald Trump on Saturday Night Live, and is now appearing opposite Demi Moore and Dylan McDermott in Michael Mailer's Blind (with a screenplay by John Buffalo Mailer), which will shortly be seen on the big screen.

Producer Jennifer Gelfer who is currently directing her first film The Second Sun joined Michael Mailer and me at the end of last year for a Blind conversation at Cafe Orlin in New York's East Village.

Alec Baldwin as Bill Oakland: "Alec really trained hard. »

- Anne-Katrin Titze

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‘A Ghost Story’ and ‘The Big Sick’ Sustain Indie Box Office Surge

9 July 2017 10:23 AM, PDT | Indiewire | See recent Indiewire news »

A Ghost Story” (A24) joined the recent surge of strong limited openers. Boasting top reviews, David Lowery’s offbeat Sundance hit nabbed a wider than usual arthouse audience. A24 is terrific with the right project at casting a wider specialized market net, so this should join several recent titles led by “The Big Sick” (Amazon Studios/Lionsgate) and “The Beguiled” (Focus Features) that have found wider interest as they expand.

This weekend, as breakout “The Big Sick” reaches a wider audience, it’s on its way to becoming the biggest specialized release of 2017 so far — and Amazon’s biggest grosser to date. It looks perfectly positioned for its nationwide break this Friday.

Syria documentary, likely Oscar-contender “City of Ghosts” (IFC) opened in New York only, landing high-end reviews for a reality-based theatrical release.

Opening

A Ghost Story (A24) – Metacritic: 87; Festivals include: Sundance, Seattle, Bam 2017

$108,067 in 4 theaters; PTA (per theater average »

- Tom Brueggemann

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Munich: Zvyagintsev, Pinho and Lass among winners

3 July 2017 3:20 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Cannes competition title Loveless wins best international film.

Films by Andrey Zvyagintsev, Pedro Pinho and Tom Lass were among the winners at the 35th Filmfest München which came to a close on Saturday evening with a gala awards ceremony before the German premiere of Lone Scherfig’s Their Finest with actor Bill Nighy and producer Stephen Woolley in attendance.

The €50,000 Arri/Osram award for the best international film in the CineMasters sidebar went to Zvyagintsev’s Cannes competition film Loveless which opened in Russian cinemas through Wdssr on June 1 and will be released in Germany by Wild Bunch.

Producers Alexander Rodnyansky and Serguey Melkumov accepted the award in Munich from the hands of the international jury comprising German director Valeska Grisebach (whose latest feature Western premiered in Cannes’ Un Certain Regard in May), producer Markus Zimmer, and actress Nastassja Kinski.

This is the second time Zvyagintsev received the Munich award after his previous feature Leviathan had won »

- screen.berlin@googlemail.com (Martin Blaney)

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Bawdy Nun Comedy ‘The Little Hours’ Soars at Specialty Box Office

2 July 2017 10:07 AM, PDT | Indiewire | See recent Indiewire news »

All of a sudden the scary decline at the indie box office has reversed. Through the first five months of 2017, only four films opening limited in the standard four New York/Los Angeles theaters opened with a per theater average of $20,000. In the last four weeks, four films have opened strong as “Beatriz at Dinner” (Roadside Attractions), “The Big Sick” (Lionsgate) and “The Beguiled” (Focus) opened well and reached crossover crowds.

This week’s addition, Sundance comedy hit “The Little Hours” (Gunpowder & Sky) is the latest surprise. Loosely inspired by the bawdy 14th-century Boccaccio classic “The Decameron” (The Hollywood version starred Joan Fontaine while Pasolini shocked in 1971), this tale is set in the Medieval Italian countryside with bawdy contemporary dialogue as a randy peasant hides out at a convent after his master catches him with his wife. It did strong business at four theaters on two coasts.

This comes the »

- Tom Brueggemann

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‘The Big Sick’ and ‘The Beguiled’ Rescue Indie Box Office, Top All 2017 Specialty Openers

25 June 2017 10:45 AM, PDT | Indiewire | See recent Indiewire news »

Things are looking up at the specialty box office as two festival hits, Sundance breakout “The Big Sick” (Amazon/Lionsgate) and Sofia Coppola’s Cannes director-winner “The Beguiled” (Focus Features) both beat all the 2017 limited openings to date. With $87,000 and $60,000 per theater averages respectively, they both accomplished something only one platform film (“Cafe Society”) achieved all last summer. And they did so the same weekend in some of the same theaters.

This shows that core specialty audiences are starving for cinematic nourishment they aren’t getting from mainstream studio fare.

The two new films join “Beatriz at Dinner” (Roadside Attractions), which expanded well in its third week. A box office rebound for specialized non-mass-audience film is finally under way.

Opening

The Big Sick (Lionsgate) – Metacritic: 87; Festivals include: Sundance, South by Southwest, Seattle 2017

$435,000 in 5 theaters; PTA (per theater average): $87,000

Amazon strikes again with its $12-million Sundance acquisition marking the biggest limited opening of the year, »

- Tom Brueggemann

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It’s a Coppola World: Inside the Filmmaking Co-Op That is Sofia, Eleanor, Roman, and Francis

24 June 2017 9:00 AM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

Sofia Coppola is the promotional circuit with “The Beguiled” (June 23, Focus Features). So is her 81-year-old mother, Eleanor, who wrote and directed her first narrative feature, the romantic road movie “Paris Can Wait;” Sony Pictures Classics is releasing it around the country to strong reviews and box office. Mother and daughter will meet, with their films, at this week’s Munich International Film Festival, where they’ll be joined by the man who began the family film dynasty, Francis Ford Coppola.

Sofia and her older brother, director and screenwriter Roman Coppola, also own San Francisco production company American Zoetrope, which their father launched in 1979; Roman runs it day to day. “They seek each other’s help when it’s needed,” said long-time family producer and casting guru Fred Roos.

Roos has been Francis Ford’s producer and casting director since “The Godfather.” And from the beginning of Sofia’s career, »

- Anne Thompson

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It’s a Coppola World: Inside the Filmmaking Co-Op That is Sofia, Eleanor, Roman, and Francis

24 June 2017 9:00 AM, PDT | Indiewire | See recent Indiewire news »

Sofia Coppola is the promotional circuit with “The Beguiled” (June 23, Focus Features). So is her 81-year-old mother, Eleanor, who wrote and directed her first narrative feature, the romantic road movie “Paris Can Wait;” Sony Pictures Classics is releasing it around the country to strong reviews and box office. Mother and daughter will meet, with their films, at this week’s Munich International Film Festival, where they’ll be joined by the man who began the family film dynasty, Francis Ford Coppola.

Sofia and her older brother, director and screenwriter Roman Coppola, also own San Francisco production company American Zoetrope, which their father launched in 1979; Roman runs it day to day. “They seek each other’s help when it’s needed,” said long-time family producer and casting guru Fred Roos.

Roos has been Francis Ford’s producer and casting director since “The Godfather.” And from the beginning of Sofia’s career, »

- Anne Thompson

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‘Princess Cyd’ Review: Now This Is How You Write Strong Female Characters In a Movie

23 June 2017 7:00 AM, PDT | Indiewire | See recent Indiewire news »

It takes an incredible amount of restraint not to tie your film up with a neat little bow, but nothing could be more fitting for a filmmaker as committed to truth-telling as Stephen Cone is. In his latest film, “Princess Cyd,” the Chicago-based writer-director renders his deeply human characters so precisely, it’s as if they stepped right off the screen and into your living room. The two central women are equal parts charming, awkward, yearning and lost. In short, they’re real. Their complexity is all the more impressive coming from a male filmmaker — Cone proves it’s possible for men to write sexually liberated, empowered, autonomous women.

Though billed as a coming-of-age story, “Princess Cyd” is much more about relationships between women, across generations and through layers of grief. Specifically, it’s the story of sixteen-year-old Cyd (Jessie Pinnick) and her Aunt, a well-known novelist named Miranda Ruth (Rebecca Spence). Cyd’s mother died when she was young, and she’s been living with her father in South Carolina. When Miranda agrees to host the rambunctious teen for the summer, the two relatives find themselves thrust into familial intimacy despite not knowing much about each other.

Read More: ‘Paris Can Wait’ Review: Eleanor Coppola and Diane Lane Bring Mature Charm to a Road Trip Romantic Comedy

Cyd, for instance, is about the only person in Chicago (certain circles, anyhow) who doesn’t know her Aunt’s work. When Miranda offers her a book, she casually replies: “I don’t really read.” Cyd would rather sunbathe on Miranda’s manicured lawn than talk about “books ‘n stuff,” and Miranda bravely digs up her old swimsuit to join. She’s a cool Aunt, offering Cyd beer and encouraging her various summer flings, but she’s less prepared for Cyd’s prying about her own romantic life. “Do you ever have sex?” Cyd asks bluntly, and Miranda sheepishly admits it’s been a while.

Exchanges like that give the film its restrained friction, while avoiding the predictable traps. Miranda doesn’t balk, but she’s clearly taken aback. Cyd might be an obnoxious snoop, but she’s also genuinely curious. It’s a keen illustration of Miranda’s discomfort with her newfound maternal role. Earlier, she hesitates awkwardly before spreading sunscreen on Cyd’s back. It’s one of those masterfully subtle moments that calls up every other time Cyd has not had a mother to rub her back or brush her hair. Miranda has invested in her work over her family, and we see what that sacrifice entails through her interactions with Cyd.

Cyd’s casual sexual exploration is a breath of fresh air. She is as interested in the cute gardener neighbor as she is in the cute barista, Katie (Malic White). Katie sports a throwback mullet/mohawk combination, and when Cyd tells Miranda that she kind of looks like a boy, she replies, “Maybe she is a boy.” “Yeah, maybe so,” Cyd says, shrugging. It’s a casual handling of gender and sexuality that more movies should emulate. The same goes for the understated sex scenes; the most explicit shot is of Cyd masturbating. (Masturbation scenes should be required in any coming-of-age about female sexuality).

Miranda’s sexuality, or lack thereof, is also something of a revelation. With a premise that begs for lessons learned, and a film landscape that loves to make everything about sex, Miranda’s self-satisfied celibacy is nothing short of radical. “It is not a handicap to be one way and not the other,” Miranda tells Cyd in an inspired monologue. Standing over a kitchen full of dirty dishes, finally dishing it back to the saucy teenager she is trying desperately to love, Miranda is the very picture of modern motherhood.

Read More: 20 New Movies That Will Define This Year in Indie Cinema, From ‘The Big Sick’ to ‘A Ghost Story

Spence is entirely captivating as Miranda — resolute and warm at the same time. A seasoned Chicago actress, she commands the screen with a graceful strength like a cross between Diane Lane and Amy Brenneman. If show business made any sense, her star would be on the rise.

Cone packs a lot into 90 minutes, and as such there are a few loose ends. Cyd and Miranda rarely discuss the deep void between them, their shared loss. Cyd’s questions about heaven seem a little childish compared to her refreshing sexual maturity, and Miranda’s religious beliefs seem unnecessarily shoehorned into a story with plenty to explore. Miranda’s artist salon is a spirited group scene in the film’s second half, but reads like a play for literary references and a missed opportunity for Cone to poke fun at Miranda (and maybe himself). Cyd’s gossip session with two older lesbians is a highlight, however.

Loose ends are to be expected in a film more interested in life as it is than some over-stimulating fantasy. “Princess Cyd” is a triumphant little film — little in the detailed moments it creates, not the content of its character. Anchored by complicated, smart, funny women, “Princess Cyd” is a rare delight of a film and a model for others to follow.

Grade: A-

Princess Cyd” premiered at the Maryland Film Festival in May. It is being distributed by Wolfe Releasing.

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- Jude Dry

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Critics Slam ‘The Book of Henry’ as ‘Beatriz at Dinner’ and ‘Paris Can Wait’ Expand Well

18 June 2017 10:00 AM, PDT | Indiewire | See recent Indiewire news »

At the specialty box office, reviews can have a huge impact. This weekend, “The Book of Henry” (Focus Features), Colin Trevorrow’s return to indie films, was scorched by critics and summoned only a mediocre start in 579 theaters ($1.4 million). On the other hand, the best per-theater-average came from “Hare Krishna” (Abramorama), a documentary the New York Times, normally critical in launching any specialized release, chose not to include among its reviews. It managed over $21,000 in one Manhattan theater.

While IFC’s Northern Ireland political story “The Journey” also delivered a surprisingly strong New York opening, the most encouraging news of the weekend was the impressive expansion for “Beatriz at Dinner” (Roadside Attractions).

Opening

The Book of Henry (Focus) – Metacritic: 28

$1,407,000 in 579 theaters; PTA (per theater average): $2,431

Trevorrow broke out with Sundance indie “Safety Not Guaranteed,” which grossed a healthy $4 million, followed by blockbuster “Jurassic World.” This anemic personal project will »

- Tom Brueggemann

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Crystal + Lucy Diversifies to Add Men

13 June 2017 10:00 AM, PDT | Variety - Film News | See recent Variety - Film News news »

A trio of men are among Women in Film’s Crystal + Lucy Awards honorees this year. Sony Classics toppers Tom Bernard and Michael Barker will receive the inaugural Beacon Award, while Dan Rather is to receive the Norma Zarky Humanitarian Award.

“I am reminded about empowered women the whole day, everyday,” Barker says, pointing to his two adult daughters, one of whom is a director.

“We were thrilled,” to hear about the award, Bernard says. “We are big proponents of equal rights, using that gender button. We want to further the cause, it was something that is important to us.”

Related

Women in Film’s Call to Action Bears Fruit

Barker and Bernard have worked with a bevy of women directors from Susanne Bier to Meera Menon and Agnes Varda.

“We were not aware that we had that many women’s films until someone brought it up to us,” Bernard says. »

- Shalini Dore

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Crystal + Lucy Diversifies to Add Men

13 June 2017 10:00 AM, PDT | Variety - TV News | See recent Variety - TV News news »

A trio of men are among Women in Film’s Crystal + Lucy Awards honorees this year. Sony Classics toppers Tom Bernard and Michael Barker will receive the inaugural Beacon Award, while Dan Rather is to receive the Norma Zarky Humanitarian Award.

“I am reminded about empowered women the whole day, everyday,” Barker says, pointing to his two adult daughters, one of whom is a director.

“We were thrilled,” to hear about the award, Bernard says. “We are big proponents of equal rights, using that gender button. We want to further the cause, it was something that is important to us.”

Barker and Bernard have worked with a bevy of women directors from Susanne Bier to Meera Menon and Agnes Varda.

“We were not aware that we had that many women’s films until someone brought it up to us,” Bernard says. “We were looking at quality of work. It just happened because we recognized the talent.”

The »

- Shalini Dore

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‘Beatriz at Dinner’ Pulls Specialty Crowds as ‘My Cousin Rachel’ Struggles

11 June 2017 10:19 AM, PDT | Indiewire | See recent Indiewire news »

Fox Searchlight pushed Rachel Weisz melodrama “My Cousin Rachel” into national release this prime summer weekend, which boasts only one new wide studio opening. But the romantic mystery thriller failed to click with audiences.

On the other hand, Roadside Attractions kept Miguel Arteta’s Sundance hit “Beatriz at Dinner” in limited dates, where the edgy and compelling story of a mismatched dinner at a Southern California estate thrived in its first limited run. With a $30,000+ per theater average and a potential appeal beyond core art house audiences, this Salma Hayek starrer could make a significant impact in upcoming weeks.

Eleanor Coppola’s romance “Paris Can Wait” continues to lead wider releases, at a decent level for its theater break but significantly below such top 2016 crossover performers as “Love and Friendship” and “The Lobster” at this time.

Opening

My Cousin Rachel (Fox Searchlight) – Metacritic: 63

$954,000 in 523 theaters; PTA (per theater average): »

- Tom Brueggemann

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‘Wonder Woman’ Sends Indie Box Office Straight to Hades

4 June 2017 10:18 AM, PDT | Indiewire | See recent Indiewire news »

Wonder Woman” captured the weekend zeitgeist with reviews as good as any new adult-appeal specialized opener — and gobbled up potential audience. But that’s not the sole reason the specialty box office went to hell this weekend.

“Churchill” (Cohen), with the pedigree of an arthouse crossover winner, went nationally in top theaters but failed to capture more than desultory business. A trio of niche releases showed some mid-level interest in New York and Los Angeles — “The Exception”(A24), “Letters from Baghdad” (Vitagraph), and “Band Aid”(IFC) — but none looks likely to cross over beyond the big-city arthouse market.

The scariest weekend news: the total lack of response to Ken Loach’s Cannes 2016 Palme d’Or-winner “I, Daniel Blake.” While it’s been a long wait after a year-end qualifying run, it’s shocking that the well-reviewed BAFTA-winner met with near total disinterest.

Last weekend’s top opener “Long Strange Trip »

- Tom Brueggemann

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Paris Can Wait – Review

1 June 2017 9:33 PM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »

 

Can’t afford to pack your bags and embark on a vacation adventure in an exotic foreign land? No problem, just travel vicariously at the multiplex. Many different genre films have more than a bit of “travelogue” in them (one of the staples of “golden age” moviegoing was the double feature with several short subjects: cartoons, newsreels, comedy “two-reelers”, and the travelogue, sandwiched between the main films). One type of story often set in “faraway places’ is the “rom-com”. Oh, and a frequent star of such flicks is this film’s leading lady, Diane Lane (Under The Tuscan Sun, Nights In Rodanthe). Yes, we’re talking about Superman’s Earth mum (we’ll see her again in the role soon in Justice League). These stories and many other recent Lane films concern her character re-discovering love and desire, usually after a long-standing relationship has gone “phhfft”. Now she’s on »

- Jim Batts

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‘Long Strange Trip’ Gets Box Office Boost from Deadheads

28 May 2017 10:12 AM, PDT | Indiewire | See recent Indiewire news »

This Memorial Day weekend at the specialty box office is dominated by niche releases without much crossover theatrical appeal, often available for home viewing. The strongest performer:  Sundance entry “Long Strange Trip: The Untold Story of the Grateful Dead” (Abramorama), which opened in two cities, combining Thursday night event shows and full-week dates to overcome its four-hour running time.

While “The Tree of Life,” “Moonrise Kingdom” and “Before Midnight” all opened on this date, since 2013 top distributors have chosen not to launch major releases over the three-day holiday.

June will bring some top releases to flesh out a slow schedule, including Sofia Coppola’s Cannes success “The Beguiled” (Focus Features). Cannes competition films from Bong Joon Ho (“Okja”) and Noah Baumbach (“The Meyerowitz Stories”) will hit Netflix and select day-and-date theaters in June, and sometime after that, respectively.

Netflix scored front-page movie-section reviews for their Brad Pitt starrer “War Machine »

- Tom Brueggemann

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‘The Silent Man’ First Clip: Liam Neeson Transforms Into ‘Deep Throat’ in Watergate Drama

25 May 2017 9:39 AM, PDT | Indiewire | See recent Indiewire news »

Sony Pictures Classics has acquired the North American rights to “The Silent Man,” marking the occasion by releasing a first-look photo and teaser for the Watergate drama. The film is written and directed by Peter Landesman (“Concussion”) and stars Liam Neeson, Diane Lane and Kate Walsh.

Read More: How ‘Silence’ and ‘A Monster Calls’ Prove Liam Neeson Is Way More Than An Action Hero — Watch

The Silent Man” tells the true story of special agent Mark Felt (played by Neeson), the notorious secret informant who, in 1974, helped journalists Bob Woodward and Carl Bernstein uncover the greatest political scandal in Us history. Felt was given the pseudonym of “Deep Throat” until he revealed himself as the famous tipster in 2005. The all-star cast also includes Marton Csokas (“The Equalizer”), Josh Lucas (“The Lincoln Lawyer”), Kate Walsh (“Private Practice”), Tony Goldwyn (“Scandal”), Michael C. Hall (“Dexter”), Tom Sizemore (“Black Hawk Down”), Wendi McLendon-Covey »

- Yoselin Acevedo

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‘Wakefield’ and ‘Abacus’ Lead Openers, But ‘Paris Can Wait’ Rules

21 May 2017 11:40 AM, PDT | Indiewire | See recent Indiewire news »

This weekend, the entire specialized industry is huddled in Cannes in search of the next big things. On the home front, just three noteworthy films opened, each on a single Manhattan screen. Two of them, the Bryan Cranston-starring “Wakefield” and Steve James’ financial world set documentary “Abacus: Small Enough to Jail,” showed some life.

Eleanor Coppola’s “Paris Can Wait” had a promising second-weekend expansion, and looks to be the standout  over the next month and more. Still, results remain minor after a couple post-awards months led by “Gifted” and “The Zookeeper’s Wife.”

Opening

Wakefield (IFC) – Metacritic: 60; Festivals include: Telluride, Toronto 2016

$14,120 in 1 theater: PTA (per theater average): $14,120

Bryan Cranston has become an omnipresent force in TV, Broadway, and features. This film, opening many months after its September festival premieres, “Wakefield” puts him front and center as a Manhattan law partner who zones out of his suburban life »

- Tom Brueggemann

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Film Review: Diane Lane Hits the Blacktop in ‘Paris Can Wait’

19 May 2017 1:42 PM, PDT | HollywoodChicago.com | See recent HollywoodChicago.com news »

Chicago – The cache of “Paris Can Wait” is what immediately makes it attractive. It’s Diane Lane road tripping through France on the way to Paris, guided by the script and direction of Eleanor Coppola, in her narrative film debut (at age 80!). Along the way there is food, seduction, incredible sights and Alec Baldwin. That formula was destined to work.

Rating: 4.0/5.0

Lane is the wife of a famous filmmaker in the story, which sounds strangely familiar. This is autobiographical, a trip like this actually happened to Coppola, not in the same fashion, but with the same atmosphere. By creating a scenario of seduction and high level food, the question of will-she-won’t-see becomes apparent beyond the cliché level. Diane Lane is simply wonderful in the role, knowing just how to balance it. Lane is one of those performers that observers tend to take for granted, because even with less than stellar material, »

- adam@hollywoodchicago.com (Adam Fendelman)

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