“George Clooney is America’s leading man,” said Sir Howard Stringer, Chairman of the AFI Board of Trustees. “Director, producer, writer and actor — a modern-day screen icon who combines the glamour of a time gone by with a ferocious passion for ensuring art’s impact echoes beyond the screen. AFI is proud to present him
The studio behind mother! has pivoted their second week marketing towards the bad word of mouth that the film has been receiving from moviegoers. They stopped selling it as a home invasion horror thriller and instead decided to embrace how polarizing it is.
Some people love it......some people don’t
It’s a bold move and we like it. What they don’t do though, is mention the F cinemascore that the film recieved. CinemaScore is a company that exit polls moviegoers’ opinions on opening night. They have been storing data since 1986, and in that time only 11 other films received the infamous F. Those so honored include Steven Soderbergh's Solaris (2002) and Andrew Dominik's Killing Them Softly (2012). And make no mistake Darren Aronofsky thinks it's an honor, he told The Frame:
What's interesting about that is, like, how if you walk out of this movie are
Read More:Paramount Defends ‘mother!’ Against Bad Box Office and ‘F’ CinemaScore: ‘This Movie is Brave’
Aronofsky, who most recently directed “Noah” and “Black Swan,” calls his movie a reflection of the way currently things are in the world — so of course it isn’t winning audiences over en masse. Here are his full comments:
“What’s interesting about that is, like, how if you walk out of this movie are you not going to give it an ‘F?’ It’s a punch. It’s a total punch.
Continue reading Darren Aronofsky Reacts To ‘F’ CinemaScore For ‘mother!’ at The Playlist.
Jennifer Lawrence is an acclaimed, Academy Award winning actress who was once the highest paid actress in the world two years ago. The 27-year old actress can pretty much do whatever she wants, but it's beginning to look like her fans do not want to see her in horror movies. 2012's House at the End of the Street was panned by critics and is seen as a commercial failure when compared to Lawrence's other work, which still earned a lot of money and was in
Based in Las Vegas, CinemaScore surveys audiences every weekend to gauge their reactions to new movies and see what effect that might have on box-office returns; ballots have six questions. Other movies to earn the rare distinction are Steven Soderbergh’s “Solaris” remake, Andrew Dominik’s “Killing Them Softly,” William Friedkin’s “Bug,” and “I Know Who Killed Me” — so not exactly crowd-pleasers.
Still, it might not be so bad.
On to about 20-some movies, which is why not one but two sites this week (that we know of) took it upon themselves to rank all of Soderbergh’s movies from ...
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Why “Solaris” Sets the Standard for Movie Remakes
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He has been careful to build a career that was commercially viable so as to maximize his ability to be constantly creating and experimenting with films that were sometimes aggressively uncommercial. Along the way, he has fought to be as efficient a filmmaker as possible – constantly trying different approaches and new technology to make and
“It’s a pretty angry and dark film, which is sort of what we wanted to make at the time. Every time I see someone go, ‘Yeah, it’s a black-comedy!’ you go, ‘There’s a couple of laughs, but it wasn’t designed to be ha-ha funny,’” continues Clooney. Set in the ’50s, “Suburbicon” centers around a home invasion perpetrated against Damon,
This is a film that targets your heart, but works its way there through your senses rather than your sentiments. It doesn’t simply tell you how brutal it is to work 80-hour weeks while earning $100 a month, it forces you to to squint in the darkness of a windowless factory, to smell the aroma of dried sweat and motor oil, to feel the
The newest entry into the franchise picks up soon
Although 2014’s “Annabelle” did well enough at the box office to warrant a sequel, reviews were less than stellar. But the surprise success of Mike Flanagan’s “Ouija: Origin of Evil” offered a solution that was likely too good to ignore: hire an indie horror director to create a prequel-sequel set in the past. And so, the hideously scary doll of the first installment was reborn, this time with “Lights Out” director David F. Sandberg behind the camera.
Read More:‘Annabelle: Creation’ Trailer: The Evil Doll Gets an Origin
Steven Soderbergh could have done anything he wanted after the hugely successful trifecta of “Erin Brockovich,” “Traffic,” and “Ocean’s Eleven.” What he did was remake Andrei Tarkovsky’s “Solaris,” perhaps the headiest science-fiction film ever made — and one that didn’t necessarily seem suited to his sensibilities. The film has its defenders 15 years later — Barry Jenkins expressed his love for it just last week — but is rarely mentioned in discussions of the versatile filmmaker’s best.
Read More:‘Logan Lucky’ Review: Steven Soderbergh Returns From Retirement with a Silly Heist Movie That Has Real Soul
Maybe that’s because it’s something of an outlier in his already varied filmography. Soderbergh has dabbled in genre pictures as often as any other filmmaker not specifically thought of as a genre director,
However, perhaps the most striking thing about how Hiroshima chooses to commemorate its defining tragedy is the way in which the city focuses on the
It’s a fascinating role in an uneven but frequently insightful movie riddled with amusing asides and enigmatic developments, partly because Huppert doesn’t undergo a radical transformation. Instead, she subtly finds herself at war with her inner confidence, and it’s often hard to tell which side has the upper hand.
Read More:‘Tomorrow and Thereafter’ Review: A Family Drama That’s Almost Powerful But Even More Disappointing — Locarno 2017
“Mrs. Hyde” has been
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