MCN Originals

The Weekend Report

Weekend Estimates 2017-10-15 at 10.41.51 AM

The confluence of a Friday the 13th debut and the upcoming All Hallows Eve celebrations propelled Happy Death Day to the top of weekend viewing with an estimated $26.5 million. The session’s other wide release, actioner The Foreigner, slotted third with $12.8 million.

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Friday Box Office Estimates

Friday Estimates 2017-10-14 at 9.55.34 AM

Happy Death Day marks another big Blumhouse opener, their third original of 2017 (no sequels from Blum this year) to open over $25 million with Universal. Also landing better than expected, Jackie Chan’s The Foreigner. Open Road cautiously released Marshall into a real-life distracted marketplace to soft results, around $3250 per screen on 821. Blade Runner 2049 didn’t sink like a stone, but was not particularly buoyant either. And Annapurna launched Professor Marston & The Wonder Women to indifference, likely under $600 per screen.

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The DVD Wrapup: Survivalist, Vampyr, Lure, Giallo, Dreamgirls and More

At a time when dystopian dramas are a dime a dozen, it bears noting when something out of the ordinary emerges. Filmed entirely in a lush forest, near Antrim, Northern Ireland, The Survivalist is just such a picture. After appearing at prominent festivals to rave reviews, Stephen Fingleton’s directorial debut was accorded only a tentative release before being sent to the video after-marketplace. It isn’t difficult to guess why. Set in an indeterminate time and place, after an unexplained energy-related catastrophe, The Survivalist chronicles one unnamed man’s struggle to survive in an environment devastated by famine, overpopulation and desperation. The survivalist (Martin McCann) appears to have prepared for all possible threats to his security, short of nuclear war.

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The Weekend Report

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Friday Box Office Estimates

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The DVD Wrapup: Queen of the Desert, POTC 5, DeMille’s Lost City, Otherworld, Patsy Cline, Wanda and more

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The Gronvall Report: John Carroll Lynch Talks LUCKY And Harry

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“The book is more nuanced and has a more interesting 1960s’ understanding of what psychiatry was then. The number one thing I take away from ‘Marnie’ is how the seeds planted in childhood translate into adult life. That’s interesting for me as an American, because we are super-fluent talking about psychiatrists, whereas people in the U.K. really don’t want to have that conversation.”
Composer Nico Muhly on Taking on Marnie and Hitchcock

“It is astounding that Harvey himself has reviewed the file, in violation of the customary practice that executives do not have access to their own employment files so that lower level employees are not discouraged from complaints out of fear of retribution. “Harvey’s decision to engage a phalanx of lawyers and law firms to address a mere request for his HR file and his unyielding unwillingness to produce the file speak volumes about what it contains.”

“Back in the day, I’d have been up you like a rat up a drainpipe but now I’m a reformed character. My disability means I’m practically a virgin again.”
“Max Stafford-Clark, one of the most influential directors in British theatre, forced to stand down from the company he founded after being accused of inappropriate, sexualised behaviour”

“Locally, layoffs at The Seattle Times have become an annual occasion; KOMO news, under ownership of Sinclair Broadcast Group, recently let go of 10 staff members; TV station Northwest Cable News shuttered; and The Stranger recently shifted to a bi-weekly model.”
Seattle Weekly, No Longer “Alt-Weekly,” Becomes “Community News Weekly”

thestar.com

“What I’m trying to come up with in our songs is that sort of intangible paradox that exists in everyone all the time. The writing that I’m doing for the band functions in a marriage with the music, first and foremost, but, as words, I think I’m just trying to describe that feeling, that paradox.”
Peter Howell Recollects An Imagistic Postcard From Canada Hero Gord Downie

“The first time I got the courage to go to an event that that particular network was part of, I had two friends with me, one on either side. They were my wing-women, so to speak. We have known each other for a long time, and you know I’m a pretty robust, tall person. But imagine me shaking with fear, walking into a hotel ballroom for a professional event. Or crying in the bathroom beforehand, needing a friend to hold my hand. Those are just some of the ways in which this kind of thing stays with you, not just psychologically, but physically and professionally. “
Maureen Ryan

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“BATTLE OF THE SEXES: Politics and queerness as spectacle/spectacle as politics and queerness. Pretty delightful, lovely, erotic. A-

“Not since EASY A and CABARET have I seen Emma Stone give a real sense of her range. Here, she has pathos and interiority and desire. I love the cinematography and the ways in which the images of the tennis icons are refracted and manipulated via various surfaces/mediators. Also, wild how a haircut is one of the most erotic scenes in cinema this year. Spine tinglingly tactile that feels refreshing. Proof that *cough* you don’t need to be ~graphic/explicit~ to be erotic *cough*. Also, it made me want to get into tennis. Watching it, at least.

“There are interesting touches and intimations as to the cinematic nature of sports, & unpacking the formal approach of broadcasting sports.Also, I was here for Sarah Silverman smoking. And also, hi Mickey Sumner!! It’s a really interesting film about the ways in which public spectacle is never apolitical, and how spectacle is prone to assignation.

“There’s this one other scene from BATTLE OF THE SEXES that I love, and it’s the one in the bar. You see Billie looking after Marilyn as she dances. Through a crowd. There’s a paradoxical closeness and distance between them. In the purple light, and the kitschy decor, everything is distorted. But Billie catches a glance and you can feel the nervous swell inside.”
~ Kyle Turner

“Our business is complicated because intimacy is part and parcel of our profession; as actors we are paid to do very intimate things in public. That’s why someone can have the audacity to invite you to their home or hotel and you show up. Precisely because of this we must stay vigilant and ensure that the professional intimacy is not abused. I hope we are in a pivotal moment where a sisterhood — and brotherhood of allies — is being formed in our industry. I hope we can form a community where a woman can speak up about abuse and not suffer another abuse by not being believed and instead being ridiculed. That’s why we don’t speak up — for fear of suffering twice, and for fear of being labeled and characterized by our moment of powerlessness. Though we may have endured powerlessness at the hands of Harvey Weinstein, by speaking up, speaking out and speaking together, we regain that power. And we hopefully ensure that this kind of rampant predatory behavior as an accepted feature of our industry dies here and now. Now that we are speaking, let us never shut up about this kind of thing. I speak up to make certain that this is not the kind of misconduct that deserves a second chance. I speak up to contribute to the end of the conspiracy of silence.”
Lupita Nyong’o