MCN Originals

Gurus o’ Gold: Last Guesses Before Nominations

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The Gurus are making their last group gasp before nominations arrive on Tuesday. (A couple Gurus, stuck in Sundance, may add to the charts tomorrow.) Not a lot has changed in Best Picture, but some long-expected nominees have been pushed out in Actress. If the Gurus are channeling a true vibe, La La Land will lead the way with 14 nominations, followed by Arrival with 10. Dive in. Every category except for shorts is there this week. And after nominations, The Gurus will return with rankings of the nominees.

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The Weekend Report

Weekend Estimates 1-22 at 10.23.52 AM

The Split decision was a knockout as M. Night Shyamalan’s thriller doubled the box office of any weekend contender with an estimated debut of $40.1 million. xXx: Return of Xander Cage was in a distant second with $20.1 million. The Founder had a disappointing national franchise of $3.5 million, while comic faith tale The Resurrection of Gavin Stone sputtered to $1.3 million.

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Friday Estimates

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The DVD Wrapup: Girl on the Train, Whole Truth, Dancer, Death Race 2050, Train to Busan, Fox and his Friends, Something Wild,and more

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FIFTY-PLUS FILMS FOR 2016

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The 4-Day Weekend Report

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The Weekend Report

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“I also hold myself accountable because, even though I was not present, I knew and had written about how ineffective AHA has been over the years.”
A Dog’s Purpose Producer Gavin Palone

Star Wars The Last Jedi

NY Times

“Some years back — it’s startling to contemplate just how long ago it was — Mr. Shyamalan was puffed up into a cinematic visionary, hailed on the cover of Newsweek as ‘The Next Spielberg.’ That hype (and his own self-aggrandizing tendencies) placed a disproportionate burden of significance on a filmmaker who has always been, at heart, a superior genre hack. Blumhouse seems like the right company for Mr. Shyamalan.”
A. O. Scott On Split

“For all its attention to detail in depicting the trappings of 17th century life in is settings, Silence is shot and edited with a directness and immediacy of the sort that Scorsese has not brought to bear on his prior period films.”
Glenn Kenny On Later Scorsese

NY Times

“Axanar and Mr. Peters acknowledge that both films were not approved by Paramount or CBS, and that both works crossed boundaries acceptable to CBS and Paramount relating to copyright law.”
Paramount Makes Settlement In Star Trek Fan Film Infringement

“Millennials will not be silenced – we’re the powerhouse now. We’re not going to let those who want to ‘make America great again’ truly take over. We’re not allowing him to run the world, even though he thinks he is.”
Janelle Monáe Says “I Am The Whole Package”

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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson