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Katniss continued to kick butt at the domestic box office - though it wasn't as if she had much competition. "The Hunger Games: Mockingjay - Part 1" finished at No. 1 for the third time in a row with an estimated $21.6 million over a typically weak post-Thanksgiving frame, falling 62 percent from last weekend - a drop similar to "Catching Fire's" 65 percent slide during the same period last year. The film has now taken in $257.7 million, making it the fourth-highest grossing movie of 2014 so far. It will rise to No. 2 this week, however, as both "Captain America: The Winter Soldier" ($259.7 million) and "The Lego Movie" ($257.76 million) are only a hairsbreadth away from being toppled by the Ya sequel. It's also within striking distance of current No. 1 "Guardians of the Galaxy," which finished with $332 million during its run. Coming in a distant second was Dreamworks Animation's "Penguins of Madagascar," which tumbled 56 percent »
- Chris Eggertsen
5th Update, Monday 6:05 Pm Pt: Actuals have poured in from the studios with the weekend’s big bird Mockingjay — Part I whistling a fine $154.3 million. Worldwide, the third installment of Ya rebel Katniss Everdeen stands at $276.2M. The other major global player, Interstellar, came up slightly higher after Sunday was officially tallied with $71.1M vs a projected $70M. There were no major fluctuations on the rest of the films in the marketplace apart from the usual adjustments. Next week, we’ll see Penguins Of Madagascar expand beyond the Middle Kingdom as well as the Horrible Bosses 2 crew conspiring in several major markets. Also of note, Paddington will steam into the UK on the heels of strong reviews and a little bit of controversy to add heft to this fuzzy bear of a family film (see below the original posts for more).
Numbers have been updated below on the »
- Nancy Tartaglione
Los Cabos –New York’s Dodgeville Films, producer of Sundance selected “To Be Takei,” is teaming with Mexico’s Varios Lobos to produce “Ya no estoy aqui” (I’m No Longer Here”), the second movie from Mexico’s Fernando Frias (“Receta”).
A Gabriel Figueroa Film Fund recipient, “Here” also competes in Los Cabos Fest’s Mexico-u.S.-Canada Co-production Forum. Dodgeville’s Gerry Kim and Mayuran Tiruechelvam will produce with Varios Lobos’ Pablo Zimbron and Luis Arenas.
Written and directed by Frias, currently a Fulbright Scholar at Columbia U’s Graduate School of the Arts, “Here” was put through a 2014 Sundance Screenwriters Lab and its investor pitching Catalyst Weekend. A Spanish/English-language movie, it tracks Ulises, a 17-year-old Cholombiano – an urban tribe distinguished by a seeming sheet of straight hair pulled over their cheeks and bald back of the head – forced to emigrate from the mean streets of Mexico’s »
- John Hopewell
+“Sometimes the class struggle is also the struggle of one image against another image, of one sound against another sound. In a film, this struggle is against images and sounds.”
There was something in the air when Jean-Luc Godard took up the political banner of the late 1960s and shifted his filmmaking focus in terms of storytelling style and stories told, and in a general sense of formal reevaluation and reinvention. Always considered something of the enfant terrible of the French Nouvelle Vague, Godard was keen from the start to experiment with the conventional norms of cinematic aesthetics, from the jarring jump cuts of Breathless (1960), to the self-conscious playfulness of A Woman is a Woman (1961), to the genre deviations of Band of Outsiders (1964) and Made in USA (1966). But Godard was still, at a most basic level, operating along a fairly conventional plane of fictional cinema, one with »
- Jeremy Carr
This season of “Saturday Night Live” has been surprisingly devoid of nostalgia, something I didn’t think would happen in this, the show’s fortieth season. But with former cast member Bill Hader returning tonight, look for that to change. And honestly? That’s fine. I have no problem with the show occasionally celebrating its own history, especially since much of the current cast was there during Hader’s tenure. Look for many of Hader’s classic characters to make a comeback tonight. Will there be a Stefon appearance? One could argue (and I would argue) that the Stefon sendoff was so perfect that any future appearance of the character would dilute that moment. But since Stefon did make another appearance during Seth Meyers’ farewell, anything’s possible. Something that’s not possible but definite: I’ll be liveblogging everything that happens tonight. Also definite: Many of you will rend »
- Ryan McGee
Adieu au langage (Goodbye to Language)
Written and directed by Jean-Luc Godard
When I finally got around to seeing Alfonso Cuarón’s Gravity, the thing I kept saying to people was, “Isn’t it funny that this film needs to be seen in 3D and yet itself does not justify 3D’s place within cinema?” I still hold my “it’s fine” opinion on that film, denying its status as an Avatar-esque game changer, and I thought I’d have to keep searching for that. Luckily, I found it right off the bat at the New York Film Festival: Jean-Luc Godard’s Goodbye to Language redefines not only 3D in film, but quite possibly film itself.
Admittedly, I am not a huge fan of Godard (despite his masterwork Vivre sa Vie being in my top ten favorites of all time). His rhetorical style, abrasive and uncompromising, has always alienated me. »
- Kyle Turner
Have you ever wondered what are the films that inspire the next generation of visionary filmmakers? As part of our monthly Ioncinephile profile, we ask the filmmaker (in this case American independent writer-director Zachary Wigon) to identify their all time top ten favorite films of all time. Wigon’s The Heart Machine (see pic of actor John Gallagher Jr above) receives a limited theatrical and VOD release on October 24th via the Film Buff folks. This top 10 is a countdown folks. Drum roll please!
“The deep pathos of pretending to be someone you’re not so that you may win over your love is taken, here, to heights alternatively comic and tragic, with the greatest closing shot in all of cinema.”
9. Goodbye, Dragon Inn – Tsai Ming-liang (2004)
“The loneliness of being a person, the desire to connect to each other through our behavior and through art, »
- Eric Lavallee
Lots of high fives at the Sony offices today, as their don't-mess-with-Denzel-Washington revenge flick The Equalizer walked away with a $35 million opening. "We’re really, really happy, but we were very bullish on the movie," says Rory Bruer, Sony's President of Worldwide Distribution. "It’s a film that we all love and it just delivers in a big way. Denzel couldn’t be more terrific in the role – you can’t take your eyes off this guy." The movie's success—director Antoine Fuqua's best opening to date, Washington's third best—is a testament to audience's appreciation of Washington in tough lone wolf roles. »
- Karen Valby
He's ready to wed! At sunset in Venice on Saturday, guests and the groom began departing the famed Belmond Hotel Cipriani - unofficial wedding weekend headquarters for George Clooney and Amal Alamuddin's nuptials - en route to the main event. The destination: the historic Aman Canal Grande Venice, where a ladies-only wedding eve party was held Friday night. When guests arrived, they entered the hotel through an entryway tented with gold-trimmed curtains. Related: George and Amal Party - Separately - Night Before WeddingFather of the groom Nick Clooney was spotted with a glass of champagne as he and wife Nina »
- Michelle Tauber, @michelletauber
Birds of a Feather: Camargo’s Debut a Tepid Chekhovian Transplant
Contemporizing classic literature can be a tricky feat, though it more often than not seems unjustified. Actor Christian Camargo has reworked Anton Chekov’s classic play The Seagull for his directorial debut, Days and Nights, curiously setting the Russian tragedy in 1984 New England. With an extremely lucrative cast at hand, Camargo’s fiddling around with the text isn’t completely bereft of ingenious new ways to converse with Chekov’s classic, though more often than not, this is simply another tedious glimpse of familial dysfunction, relocated to the heart of a Wasp’s nest. While it isn’t necessary to be familiar with the material Camargo is in correspondence with, one’s awareness of it may impede rather than enhance this film, which often feels strained or confused upon comparison.
It’s Memorial Day Weekend in 1984, and famous »
- Nicholas Bell
The Ya adaptation reigns supreme at the box office this weekend, while a typically reliable action star struggles.
In at number 1 is The Maze Runner (read our review) with $32.5 million. That’s obviously not Hunger Games or Twilight type numbers, but it’s still a great start given the fickle nature of the Ya adaptation.
With no notable stars to speak of, The Maze Runner‘s audience was likely comprised of book fans, but that’s not a bad turnout all things considered. In fact, Fox has already greenlit the next film in the series, The Maze Runner: Scorch Trials.
Coming in at number 2 is A Walk Among the Tombstones (read our review) with $13.1 million. While ...
Click to continue reading Weekend Box Office Wrap Up: September 21st, 2014
- Anthony Taormina
Among this weekend’s three new releases only Fox’s The Maze Runner showed strength. The sci-fi thriller brought in an estimated $32.5 million from 3,064 locations for the sixth-biggest September debut of all time. Way back in second place with $13.1 million from 2,712 locations, A Walk Among the Tombstones suggests that audiences may be tiring of Liam Neeson and his now-familiar tough guy roles. Finally, despite an ensemble cast that includes Jason Bateman and Tine Fey, This Is Where I Leave You failed to hit its very modest $15 million target. In short, it was business as usual for the September box office. Title Weekend Total 1. The Maze Runner $32,500,000 $32.5 2. A Walk Among the Tombstones $13,126,000 $13.1 3. This Is Where I Leave You $11,860,000 $11.8 4. No Good Deed $10,200,000 $40.1 5. Dolphin Tale 2 $9,005,000 $27 6. Guardians of the Galaxy $5,180,000 $313.6 7. Let’s Be Cops $2,675,000 $77.2 8. Teenage Mutant Ninja Turtles $2,650,000 $185 9. The Drop $2,050,000 $7.7 10. If I Stay $1,835,000 $47.6 Full story after the jump. The Maze Runner, an adaptation of James Dashner’s 2007 novel, »
- Nicole Pedersen
Written by Paul Logan
Directed by David Gordon Green
David Gordon Green has never allowed himself to be easily pinned down as a filmmaker. After making his name with dreamy independent films about relationships and growing up, he moved onto big budget comedies of varying quality. While even his most dire efforts bring a certain amount of style (even the awful Your Highness had a compelling visual softness not usually associated with medieval stoner comedies), many have mourned the direction of his career. His newest effort, Manglehorn, feels like a bastard child of these two worlds. In many ways it’s his most visually adventurous film since his career began, but it’s hardly a return to his early work in terms of feel, theme or style.
Al Pacino stars as the titular character of Manglehorn, an old grizzled locksmith who spends his days yearning for the lost love of his life, »
- Justine Smith
Hoo-boy, people did not want to see Sin City: A Dame to Kill For. The box office prospects for the follow-up were already looking pretty dim following dismal reviews and lack of general interest, but few would have guessed that directors Robert Rodriguez and Frank Miller’s stylized sequel would only make $6.4 million for the entire weekend—for the entire weekend! That’s down 78% from the first film’s opening weekend, and puts the film at No. 8 on the box office chart, as Marvel Studios’ highly successful Guardians of the Galaxy reclaimed the top spot for the first time since its opening weekend. The film was usurped by Teenage Mutant Ninja Turtles in its second weekend, but pulled in an impressive $17.6 million over the last three days for a domestic total of $251.9 million. Guardians is now on track to best Captain America: The Winter Soldier as the highest grossing film of the year, »
- Adam Chitwood
The French New Wave, that cinematic movement from the 1960s that essentially defined iconoclasm for film, has undoubtedly had its impact on nearly everything, from film to music to style. And given its indelible impact on cultural history, it’s one of the easiest artistic movements to pull from, as demonstrated from three key music videos inspired by, ripped off from, and celebrating the auteurs from Godard to Truffaut.
There’s a bit of irony and wordplay going on here. First, the band’s name is Nouvelle Vague, nodding to both the French New Wave and the New Wave in music during the 1980s. Then there’s the name of the album that the French cover band chose to use: Bande à Part, from the Jean-Luc Godard film of the same name. Then there’s the actual music video. Rather than go about “creating” a music video for their single, »
- Kyle Turner
In at number 1 is The Fault in Our Stars (read our review) with a very impressive $48.2 million debut. Heading into the weekend it looked like the film, based on the best-selling novel by John Green, would do well, but few expected a near-$50 million opening.
The film did slip some over the weekend, a likely byproduct of that initial Friday night rush, but that surge was more than enough to push this film past profitability and into box office hit territory. That’s 2-for-2 for Shailene Woodley with both this and Divergent ...
Click to continue reading Weekend Box Office Wrap Up: June 8th, 2014
The post Weekend Box Office Wrap Up: June 8th, 2014 appeared first on Screen Rant.
- Anthony Taormina
Tomorrow when the Supporting Actress Smackdown 1941 hits, we'll just be discussing the five nominees (24 more hours to get your ballots in for the reader's section of the vote!). As it should be. But for the first time in a Smackdown I polled my fellow panelists as to who they would have nominated if, uh, they'd have been alive in 1941 and if, uh, they'd been AMPAS members.
Angelica and I didn't vote (I haven't seen enough 1941 pictures, I confess) but our other three panelists have recommendations for you outside the Oscar shortlist. In fact, all three of them only co-signed 2 of Oscar's 5 choices... different ones mostly so the Smackdown should be interesting (I'm not telling you which as the critiques come tomorrow!). So here are some For Your Considerations for your rental queues or your »
- NATHANIEL R
In my first year at the Festival de Cannes, I think I walked the length of the Boulevard de la Croisette approximately 36 times. At first swarming through this crowded main street is like being trapped in a street fair full of confused rubber-neckers, all wandering in different directions, straining to see something that hasn't quite materialized. Gosling? Glitz? Justin Bieber? Jean-Luc Godard?
On my first stroll down this main drag, I saw Hummer-inspired yachts, an older European couple with his-and-her beige linen pant suits and matching grey-blond severe bobs, and a group of loud American students slugging rosé from the bottle on a bench. The police and bouncers (more so than the festival staff) control the crowds with alarmingly random assertions of authority. "Ne fais pas le rois juste!" shouted one pissed off teen when an officer decides on a whim, seemingly, that only some people are allowed to cross the street. »
- Miriam Bale
Directed by Brian De Palma
It is obvious that Body Double (1984) is a combination of the plots of Vertigo (1958), Rear Window(1954) and Dial M for Murder (1955) by Alfred Hitchcock, and nearly as obvious to say that the film also takes cues from Michael Powell’s Peeping Tom (1960) and elements from various slasher films like Abel Ferrara’s The Driller Killer (1979). Unfortunately, a good number of critical pieces on Brian De Palma are obsessed with listing off his influences and coming to the inept conclusion that he is merely a Hitchcock imitator with a couple of clever cinematic tricks up his sleeve. Few writers take De Palma on his own terms, though select critics are finally coming around, and most ignore the way he constructs his complex thriller narratives, creates exquisite images that take advantage of cinema’s unique artistic properties, »
- Cody Lang
"Why?" you ask. As if the peanut butter shakes weren't enough of a reason, while at the Alamo Drafthouse/Texas Frightmare screening of Dawn of the Dead, people in attendance will get a shot at scoring themselves the very first official figure of George A. Romero, which was made in conjunction with Retroband! There's even a zombie George variant!
Mondo has a limited amount for sale and will be making them available on a first-come/first-served basis to ticket holders for the 7:35 Pm and 8:15 Pm Dawn of the Dead screenings. They will cost $100.
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- Steve Barton
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