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Hail, Caesar: Alden Ehrenreich


Hail, Caesar: Josh Brolin

MCN Originals

The Weekend Report

Weekend Estimates 2016-02-07 at 9.24.29 AM

Muscular Kung Fu Panda 3 flexed its pecs for a second weekend at the top of the charts with an estimated $21.2 million. The session featured a trio of national bows, with openings that ranged from good to … Slotting second was Hollywood spoof Hail, Caesar! with an $11.4 million back office. The three-hanky The Choice grossed $6.1 million while Pride + Prejudice + Zombies got skewered with $5.2 million.

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Friday Box Office Estimates

Friday Estimates 2016-02-06 at 10.47.21 AM


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The DVD Wrapup: Bridge of Spies, Truth, Snow White, Breathe and more


There’s always a point in a Steven Spielberg movie where I want to pull out my cellphone – or hit the pause button on my remote – to check the validity of what’s just happened on the screen. Likewise, there are times in every performance by Tom Hanks when he appears to be channeling Henry Fonda or Jimmy Stewart, instead of remaining within the skin of his character. It doesn’t take me out of the picture for very long, just enough to remind me that the operative word in “based on a true story” is “based,” not “true.” Most fact-based movies made in Hollywood require a suspension of disbelief for the sake of telling a story. It comes with the price of a ticket. If any collaborative team is allowed more latitude than Spielberg and Hanks, however, I’d be hard-pressed to name it.

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Gurus o’ Gold: 9 Days Until Voting Begins

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Excluding Voters: A Closer Look At One New Oscar Rule (#1 of ?)

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The Weekend Report

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Friday Box Office Estimates

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“The best book ever done on the terrifying social dysfunction of the beautiful people.”
David Thomson On Jean Stein’s Studio-Era Hw’d History, “West Of Eden”

“The Coens’ answer comes from a place of privilege. As white directors, they have plenty of opportunities to tell stories about white people. Representation is not something they’re actively fighting for in Hollywood; the stories they tell are the norm. Nonwhite directors don’t have the same opportunity.”
A Further Internet Head-Shake At The Coens’ Answers To Jen Yamato On Diversity

“The thrill doesn’t come from narrative tension; it instead comes from what Mann is able to do with light, sound, and texture—the way he composes them all in a breathtaking dance.”
Isaac Butler On The Greatness Of Michael Mann’s Thief

“That’s a decision we’re going to work together with George Lucas and Mellody.”
Chicago Rahm May Ask George Lucas To Move His Museum Off The Lakefront

“Sitting through a boring film, my mind will wander: ‘How can I turn this monotony into money?’ There’s always an incentive to attend a film festival if the invitation’s there, though, because a large part of your momentum as a freelance journalist depends on being seen at a place.”
Michael Pattison On A Life Of A Freelance Film Critic

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Quote Unquotesee all »

“There are critics who see their job as to be on the side of the artist, or in a state of imaginative sympathy or alliance with the artist. I think it’s important for a critic to be populist in the sense that we’re on the side of the public. I think one of the reasons is, frankly, capitalism. Whether you’re talking about restaurants or you’re talking about movies, you’re talking about large-scale commercial enterprises that are trying to sell themselves and market themselves and publicize themselves. A critic is, in a way, offering consumer advice. I think it’s very, very important in a time where everything is commercialized, commodified, and branded, where advertising is constantly bleeding into other forms of discourse, for there to be an independent voice kind of speaking to—and to some extent on behalf of—the public.”
~ A. O. Scott On One Role Of The Critic

“Every night, we’d sit and talk for a long, long time and talk about the process and I knew he was very, very intrigued about what could be happening. Then of course, one of the fascinating things he told me about was how he had readers who were reading for him that never knew it was Stanley Kubrick. So if he heard of a novel, he would send it out to people. I think he did it through newspaper ads at the time. And he would send it out to people and ask for a kind of synopsis or a critique of the novel. And he would read those. And it was done anonymously. But he said there were housewives and there were barristers and all sorts of people doing that. And I thought, yeah, that’s a really good way to open up the possibilities. Because otherwise, you’re randomly looking, walking through a bookstore or an airport. I said, “How many people are doing this?” It was about 30 people.”
~ George Miller’s Conversations With Kubrick