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Last weekend's winner, The Hunger Games: Mockingjay Part 2 dominated during its opening weekend at the box office with $101 million, although that tally was the lowest debut of all four movies in the blockbuster franchise. Several analysts wondered if it will be dethroned already in its second weekend in theaters, facing three new releases over the holiday weekend, Pixar's The Good Dinosaur, Warner Bros.' Creed and 20th Century Fox's Victor Frankenstein, all of which opened on November 25, in lieu of the Thanksgiving holiday. As expected, Box Office Mojo reports that The Hunger Games: Mockingjay Part 2 dropped almost exactly 50% in its second weekend, taking in $51.6 million, which was surprisingly enough to overtake The Good Dinosaur.
Pixar's The Good Dinosaur, which opened in 3,749 theaters, was expected to take in $60 million in its opening weekend, but it only earned $39.1 million, debuting in second place behind The Hunger Games: Mockingjay Part 2's $51.6 million. »
Just like its predecessors, The Hunger Games: Mockingjay Part 2 dominated during its opening weekend at the box office. However, it debuted with a franchise-low $101 million, and many are wondering if it will be dethroned already in its second weekend in theaters, going up against three new releases, Pixar's The Good Dinosaur, Warner Bros.' Creed and 20th Century Fox's Victor Frankenstein, all of which open tomorrow, November 25, in lieu of the Thanksgiving holiday. If The Hunger Games: Mockingjay Part 2 suffers a decrease of more than 50%, and the projections at Pro.BoxOffice.com are accurate, than The Good Dinosaur will reign supreme this weekend.
Pixar's The Good Dinosaur, which opens in roughly 3,600 theaters, is projected to take in $60 million, which should be more than enough to take down The Hunger Games: Mockingjay Part 2, as it will likely drop to second place with an estimated $50.4 million. The Good Dinosaur »
By Scott Feinberg
The Hollywood Reporter
Saoirse Ronan, the prodigious Irish actress who was nominated for an Oscar at the age of 13 and now, at 21, is anchoring one of the most acclaimed films of the year, Brooklyn, has been tapped by the Palm Springs International Film Festival for its International Star Award.
She will pick up the honor at the 27th annual Psiff Awards Gala on Jan. 2. This year’s fest runs Jan. 1-11.
Read the rest of this entry…
- Patrick Shanley
Brian De Palma has become the directorial litmus test of cinephiles everywhere. To supporters, he stands as a startling visual genius with a penchant for set pieces and lurid subject matter. To naysayers, he remains a lowbrow imitator who spends his studio budgets chasing the ghosts of Alfred Hitchcock and Jean-Luc Godard. Great director or high class hack? Inconsistent misogynist or Master of the Macabre? Much like his fractured narratives, the answer is never an easy one to attain.
Both sides provide ample support for their case. De Palma’s resume is riddled with enough hollow imitations (Sisters , Raising Cain ) and bloated commercial flops (The Bonfire of the Vanities , The Black Dahlia ) to sink any director. But even in misfires such as these, an undeniable attention to detail remains.
The split screen cover-up of Sisters or the heartbreaking screen tests of The Black Dahlia are breathtaking in scope and execution, »
- Danilo Castro
The Brave One: Roach Recapitulates Black List Era Hollywood
Examining the past from the safer perspective of our more enlightened period, Jay Roach’s Trumbo is a salutation to famed screenwriter Dalton Trumbo, a man who defied the blacklist following Joseph McCarthy’s witch hunt in Hollywood. Unfortunately the film doesn’t seem worthy of the talented man it’s lionizing. Some might conclude, now more than ever, a remembrance of Trumbo and those brave souls who continue to stand against a corrupt system despite personal losses, are important. But then, one would expect a much more unruly and rebellious film, something harpooning Hollywood’s greedy, superficial sugarcoating rather than just another period send-up. Despite a sympathetic and altogether enjoyable performance from Bryan Cranston, Roach dithers around with a host of stereotypes and clichés, presenting mimicry of cinematic golden days sporting a cavalcade of caricatures not unlike Sacha Gervasi »
- Nicholas Bell
With early November being prime real estate for the annual movie awards season, you might think the AFI Fest would be a vital springboard into the Oscar race. But the blunt truth is that the event hasn’t been much of a lucky charm.
Over the past decade, films that have gone to the fest looking to establish a wave of support, only to more or less crash on the rocks, include Emilio Estevez’s “Bobby,” Robert Redford’s “Lions for Lambs,” Edward Zwick’s “Defiance” and “Love & Other Drugs,” Clint Eastwood’s “J. Edgar,” Sacha Gervasi’s “Hitchcock,” John Lee Hancock’s “Saving Mr. Banks” and J.C. Chandor’s “A Most Violent Year,” to name a few.
This year, the festival — which kicks off Nov. 5 — boasts three compelling world premieres in opening night, centerpiece and closing night slots, respectively: Angelina Jolie’s “By the Sea,” Peter Landesman’s “Concussion »
- Kristopher Tapley
It’s Halloween, the time of year for watching horror films with the lights out. You may be trying to decide which films you should watch for your Halloween scare-fest. There are many good films, depending on your taste. As a Halloween gift to you, Cinelinx lists 25 of the best horror films to watch, for your Halloween enjoyment. All these films are of excellent quality and convey the requisite eeriness and suspenseful mood to keep you in the creepy Halloween mood.
First…here’s a couple of Honorable Mentions:
Silence of the Lambs (1991) Hugely successful suspense thriller film that isn’t technically a horror movie but it’s close. This classy chiller became one of the few movies ever to capture the 'Big Five' awards at the Oscars. (Best picture; Best director for Jonathan Demme; Best actor for Anthony Hopkins; Best Actress for Jodie Foster; and best screenplay by Ted Tally. »
- firstname.lastname@example.org (Rob Young)
Whether you're a fright fanatic, a middle-of-the-row horror fan, or a "someone-dragged-me-here" who barely watches from between terrified, trembling fingers, you've probably noticed an interesting trend: a lot of recent horror movies are based on true stories. At least that's what the filmmakers would have us believe.
The all-too-common "based on a true story" or "based on true events," along with the less reliable "inspired by true events," have become ubiquitous additions to most horror movie marketing campaigns. But this is nothing new. Going all the way back to the "Texas Chainsaw Massacre's" iconic 1974 tagline -- "What happened is true. Now the motion picture that's just as real." -- the truth has always been an important tactic in upping the fear factor for audiences.
If events truly did happen, does that make it more frightening? The recent success of movies like "The Conjuring" (2013), "The Possession" (2012) and "The Haunting in Connecticut" (2009) point to a big "yes, »
- Matthew A Nelson
Special Mention: Dressed To Kill
Directed by Brian De Palma
Written by Brian De Palma
Brian De Palma’s films, like Tarantino’s, are a cinematic mash-up of influences from the past, and in De Palma case he borrows heavily from Alfred Hitchcock. Obsession is De Palma’s Vertigo, Blow Out his Rear Window, and with Dressed to Kill the director set its sights on Psycho. Dressed To Kill is more thriller than horror but what a stylish and twisted thriller it is! The highlight here is an amazing ten-minute chase sequence set in an art gallery and conducted entirely without dialogue. There are a number of other well-sustained set pieces including a race in the subway system and even, yes, a gratuitous shower murder sequence. Dressed To Kill features an excellent cast (Michael Caine, Nancy Allen, Angie Dickinson), a superb score (courtesy of Pino Donaggio) and »
- Ricky Fernandes
In Alfred Hitchcock's Vertigo, Jimmy Stewart follows Kim Novak on a circuitous, increasingly paranoid sojourn through San Fransisco, trying to figure out what, exactly, she's doing, a question whose answer he unfortunately finds out. The paranoia of Hitchcock's films is surpassed only by the paranoia of Stanley Kubrick's films, which are rife with delusion and deceit. Well, some brilliant video editor has finally conflated the two mad geniuses of cinema. In a new short film called "The Red Drum Getaway," the characters of Kubrick's films stalk Jimmy Stewart, looking like ghosts from a haunted past while Bernard Herrmann's classic score percolates. You can watch the short video below. »
- Greg Cwik
Horror films are built on our voyeuristic impulses. Our desire to witness or experience the obscene, the taboo, and the grotesque draws us into films about crazed killers or unseen forces. We don’t just want to be shocked, we want to be vulnerable. The stalking scene is a staple of the genre because it involves us in the filmmaking process by providing us a point of view: usually third person from a victim or first person from a killer. Unlike a chase scene, where both parties are aware of the game, the stalking often involves an oblivious participant. These are the slowest and most methodical scenes. There’s no rush to where we’re going because there is no destination to get to. Once the participant becomes aware, there’s only four options: run, hide, fight, or die.
The Birds (1963) – Bird’s eye view
Although not as shocking as Psycho, »
Cold Spring Pictures was created in 2006 as a production facility to co-finance movies produced by Ivan Reitman and Tom Pollock’s the Montecito Picture Company. Paramount retains 50% ownership of the titles, which include “Disturbia,” “Beer Pong,” “Hotel for Dogs,” “Post Grad” and “Hitchcock.”
“Cold Spring’s titles offer an incredible variety of genres and styles — a perfect complement to the kinds of films Revolution has in our library,” said COO Scott Hemming.
Revolution signed a deal with Universal Pictures Home Entertainment to create non-feature productions based on properties in Revolution’s film library.
Revolution has been bulking up its library for the past year as part of a strategy of exploiting recognizable titles for global TV and digital distribution. The company, founded by Joe Roth in 2000, was acquired in June of 2014 by Fortress Investment Group. »
- Dave McNary
Generations of UCLA students will salute Howard Suber for his 50 years of teaching on Friday in an event that the legendary film professor likens to the scene from “The Adventures of Tom Sawyer,” where the title character witnesses his own funeral.
“It’s one of my favorite episodes in fiction,” said Suber. “Where Tom and Huck are believed to have drowned in the Mississippi and they watch as the pastor gets up and everyone says these glowing things that no one said when they thought they were alive. I get to hear these eulogies while I’m still around too.”
At an age when many of his contemporaries have given up work for golf or other hobbies, Suber is still at it, teaching two courses this semester on film structure and strategic career planning. It’s been a remarkable run for a man who says he never intended to be a college professor. »
- Brent Lang
In a bit of a change of pace from the usual winners-announced-in-advance, gold-watch “lifetime achievement” baubles you get this time of year, the Make-Up Artists and Hair Stylists Guild will pit a number of established artists against each other, with the winners to be honored at its annual awards gala.
Announced today, nominees in the make-up category are: Bernadine Anderson (a longtime key artist for Jane Fonda who also worked with Eddie Murphy on films like “Coming to America” and “Vampire in Brooklyn”); Leonard Engelman (a key artist for actors like Cher and Val Kilmer in his time who also worked on films like “The Accidental Tourist” and How the Grinch Stole Christmas”); Ve Neill (a three-time Oscar winner and eight-time nominee for films like “Beetlejuice,” “Mrs. Doubtfire” and “Ed Wood”); Maurice Stein (a 50-year vet of films such as “Planet of the Apes” and “Friday the 13th”); and Michael Westmore »
- Kristopher Tapley
This Sunday, actress Diane Baker will appear at Film Forum in New York to discuss her 50-plus year career in film and television with film historian Foster Hirsch. On Monday at 8:00pm she will again be at Film Forum to introduce a screening of Alfred Hitchcock’s 1964 film Marnie.
Still just in her mid-twenties, actress Diane Baker found herself one morning in the unfamiliar surroundings of Alma and Alfred Hitchcock’s Brentwood kitchen. They ate peaches around the kitchen table and discussed director Hitchcock’s next picture – Marnie. “I was offered the part without reading the script,” Baker told me on the phone from an apparently sunny San Francisco. “I just happily accepted. Whatever it was, I was going to do it.” But looking back who can blame her? This was, of course, the director whose five previous films had been The Birds, Psycho, North by Northwest, Vertigo and The Wrong Man, »
- James Knight
BBC’s The Gamechangers didn’t exactly do its GTA subject matter justice. Ryan explains why we need a great movie about game design...
In the very next scene, the game engine’s finished and demonstrated to Jamie, another Rockstar co-founder. To the casual observer, it might seem as though the process of making a game engine is as simple as ordering a pizza.
It’s an example of the 90-minute show’s clumsy handling of its subject matter: the videogame phenomenon Grand Theft Auto: San Andreas, its social impact and its controversy. This was the kind of drama that felt the need to carefully explain some things in painfully literal terms - »
Emma de Caunes joins the jury for the 26th British Film Festival in Dinard Photo: Richard Mowe
Actress Emma de Caunes (daughter of former Eurotrash host Antoine de Caunes) will join president Jean Rochefort as a member of this year’s jury at the 26th edition of Dinard British Film Festival, it was announced today (13 Sept).
Among the other jurors at the event from 30 September until 4 October will be actress Melanie Doutey, Virginia Efra, Amara Karan, Alexandra Lamy, actor Bernard Lecoq and producer Bertrand Favre with a few names still to be confirmed. Among the awards to be deliberated will be the top accolade the Golden Hitchcock.
- Richard Mowe
“Murder In Soft Focus”
Brian De Palma’s crime thriller/horror flick, Dressed to Kill, was a controversial release in 1980 for its depiction of violence against women and its sexual content— nevertheless, it was a successful entry in the director’s oeuvre during the most fruitful period of his long career. The film was released in America with an “R” rating—but only after De Palma, under protest, compromised with the ratings board and agreed to cut some footage, re-edit a couple of sequences, and change some lines of dialogue.
De Palma’s preferred unrated version of the film was released on home video not too long ago, but The Criterion Collection has seen fit to issue a new, 4K digital restoration, supervised by the director, of what might have been an “X”-rated picture back in the day. The results are gorgeous. De Palma’s thrillers »
- email@example.com (Cinema Retro)
Acolytes of Brian De Palma’s flavorful, flamboyant filmography hardly need reminding of his acrobatic ability as a visual storyteller; what they’ll learn from “De Palma” is that in front of the camera, he’s a pretty marvelous raconteur, too. The septuagenarian director provides an exhaustive but exuberant film-by-film account of a career spanning nearly half a century in Noah Baumbach and Jake Paltrow’s delicious documentary portrait — skimping neither on candid self-effacement or irreverent wit as he recalls such professional triumphs as “Carrie,” such dispiriting misfires as “Mission to Mars,” and the wealth of knowledge gained and opportunities lost in between. Elegantly linear in its setup, and reflecting at least one of its name helmers in its overriding mood of buoyant good humor, “De Palma” reps several Christmases come at once for fans, though it’s playful and perspicacious enough to engage all film-biz aficionados.
“Here’s the »
- Guy Lodge
The 1970’s was an excellent decade for movies. Pop culture and reality collided to give audiences the most gritty, emotional, and entertaining films they had ever seen. This is our list of the 25 movies from the 1970’s that everyone should see.
Until the 1970’s film was mainly just a pastime. You went to the movies to unwind. You enjoyed comedies, musicals, and sprawling adventurous epics. The 1970’s effectively changed what movies were and what they could be. This important decade paved the way for modern film making by not only challenging traditional methods, but by fundamentally changing audience expectations of what movies could be. The 1970’s gave birth to the blockbuster, piqued our interest in regards to violence and sex on film, glorified the exploits of bad guys for the first time, and really pushed the boundaries to explore new frontiers that had never been depicted on film before.
- firstname.lastname@example.org (G.S. Perno)
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