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

1-20 of 61 items from 2017   « Prev | Next »


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

18 May 2017 4:31 PM, PDT | Indiewire | See recent Indiewire news »

Alec Baldwin doesn’t get much screen time in “Paris Can Wait,” and that’s one reason the movie works. Nothing against the “SNL” hero; the character he plays is, like himself, a successful Hollywood insider. Director Eleanor Coppola is more concerned with the workaday dramas that happen backstage at an awards show, or just out of frame of a paparazzi shot. As the wife of Francis Ford and mother of Sofia, Coppola sticks to what she knows in her narrative feature debut. For the 80-year-old filmmaker (“Hearts of Darkness”), it’s a triumph worth saluting.

Read More: ‘Paris Can Wait,’ Eleanor Coppola’s French Valentine, Leads Arthouse Box Office Openers

Baldwin is Michael, a businessman who questions every expenditure and couldn’t match his socks without his wife, Anne (Diane Lane). They plan to vacation in Paris after Michael’s latest film wraps in Turkey, but Anne decides to »

- Jude Dry

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Eleanor Coppola On The Fundamental Truth Of Movie Production: “It’s Never Easy” – Deadline Disruptors

17 May 2017 9:53 AM, PDT | Deadline | See recent Deadline news »

"Francis feels very frustrated," wrote Eleanor Coppola in Notes: The Making of Apocalypse Now. "He gathers up his Oscars and throws them out the window. The children pick up the pieces in the back yard. Four of the five are broken." The shoot for Francis Ford Coppola's Vietnam epic had yet to even begin—the director was still trying to cast the key roles of Willard and Kurtz. Steve McQueen, Al Pacino, Jimmy Caan, Robert Redford and even Marlon Brando had all turned him… »

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Kirsten Dunst and Sofia Coppola on Hollywood Sexism, Their Feminist ‘Beguiled’ Remake

16 May 2017 6:00 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Sofia Coppola met her muse Kirsten Dunst in 1998. The actress was just 16 at the time, and the 27-year-old daughter of Francis Ford Coppola was about to make her directorial debut with “The Virgin Suicides,” based on a novel that she loved. Dunst was so innocent, she brought her mom along to chaperone their initial conversation. “I was a little nervous,” she says. “It was my first adult role!”

So much of Hollywood is filtered through the male gaze. But Coppola, who tells stories from the perspectives of her heroines, immediately put Dunst at ease. “She was always a good influence on me as a young woman,” Dunst says, recalling a compliment that Coppola once paid her that she never forgot. “She said to me, ‘I love your teeth; don’t ever fix your teeth.’ I remember doing a ‘Spider-Man’ movie later, and one of the producers was like, ‘I need »

- Ramin Setoodeh

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Why ‘King Arthur’ Flopped: You Can’t Make a $300 Million Movie Without Women, and Three More Reasons

15 May 2017 2:35 PM, PDT | Indiewire | See recent Indiewire news »

In the annals of Hollywood flops, “King Arthur: Legend of the Sword” holds a unique space. Not only did it gross just $15 million this weekend off of $300 million in production and marketing costs, its failure also is not an orphan. There are reasons — so many reasons.

Yes, Charlie Hunnam can’t open a movie, the reviews were terrible, and the marketing was as muddled as the filmmaking. However, “King Arthur” made four other wide-reaching and entirely avoidable mistakes — which means, maybe the studios will be wiser next time.

Here are some fundamental miscalculations:

1. Women. There Weren’t Any.

The King Arthur legend has multiple elements, but among them is a love story involving the king, Guinevere, and Sir Lancelot. This version followed what most of director Guy Ritchie’s films focus on: men, and otherwise male interactions. Guin hardly exists.

So, we had a story that incorporated fantasy, swords, sorcery, »

- Tom Brueggemann

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‘King Arthur: Legend of the Sword’ is a Failure, and Summer Box Office Could Follow

14 May 2017 2:47 PM, PDT | Indiewire | See recent Indiewire news »

King Arthur: Legend of the Sword” surpassed Warner Bros.’ modest expectations by revealing itself as a full-on belly flop, grossing $14.7 million. While nothing else approaches its level of disaster, it’s a beacon for the weaknesses that have begun to plague summer 2017.

Next week, expect Fox’s “Alien: Covenant” to lead three new summer entries. Ridley Scott’s return to his 1979 classic opened to $42 million in a majority of the world (but not China, among other territories); it will need to soar next weekend at home in order to restore some confidence to the industry.

The Top Ten

1. Guardians of the Galaxy, Vol. 3 (Disney) Week 2- Last weekend #1

$63,007,000 (-57%) in 4,347 theaters (no change); PTA (per theater average): $14,494; Cumulative: $246,164,000

2. Snatched (20th Century Fox) New – Cinemascore: B; Metacritic: 46; $; est. budget: $42 million

$17,500,000 in 3,501 theaters; PTA: $4,999; Cumulative: $17,500,000

3. King Arthur: Legend of the Sword (Warner Bros.) New – Cinemascore: B+; Metacritic: 41; $; est. budget: $175 million

$14,700,000 in »

- Tom Brueggemann

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‘Paris Can Wait,’ Eleanor Coppola’s French Valentine, Leads Arthouse Box Office Openers

14 May 2017 10:24 AM, PDT | Indiewire | See recent Indiewire news »

As specialized distributors head to Cannes, Eleanor Coppola’s French valentine “Paris Can Wait” (Sony Pictures Classics) scored with arthouse moviegoers. It’s only the fourth 2017 limited release to break the increasingly rare $20,000 per-theater-average mark.

These days, movies with older audience appeal are sustaining the market — and will likely form the core demo for similar available new films at Cannes. Eleanor Coppola (“Apocalypse Now” documentary “Heart of Darkness”) makes her narrative film debut at 81 with her semi-autobiographical first screenplay, starring Diane Lane as the wife of a self-involved film producer (Alec Baldwin).

New York also saw a handful of other small but still promising initial results, led by Cate Blanchett stunt-theater piece “Manifesto” (Film Rise), Israeli marriage story “The Wedding Plan” (Roadside Attractions) and “Stefan Zweig: Farewell to Europe” (First Run).

Netflix’s timely Tribeca documentary “Get Me Roger Stone,” an eye-opening portrait of Donald Trump’s flamboyant dark knight, »

- Tom Brueggemann

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

1-20 of 61 items from 2017   « Prev | Next »


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