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DP/30: Moonlight, Barry Jenkins

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Moonlight, Mahershala Ali

MCN Originals

The Weekend Report

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Twas Beauty killed the Beast to an estimated record-breaking debut of $171.7 million. The frame’s other new wide release, the James Gunn-penned eerie thriller The Belko Experiment was a slim counterprogrammer with a $4 million launch.

Exclusive newcomers included Terrence Malick’s allegorical musical romantic triangle Song to Song with $51,700 from four bookings and the long-gestating sequel T2: Trainspotting that bowed domestically on five screens to $177,000 following two months of overseas exposure that’s injected $34 million.

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Friday Box Office Estimates

Friday Estimates 2017-03-05 at 11.07.07 AM copy

Tale as old as 1991… loved to say the least… throngs come out for Belle, critics ring death knell, Beauty and the Beast

It’s the fourth biggest opening day outside of the summer/holiday windows. $155 million seems like the floor for the weekend. This kind of huge success seemed inevitable when incisive critics started reviewing Disney’s business model instead of the movie. Canaries in the coal mine.

In exclusives, Boyle & Malick will each go over $10k per screen in throwaway releases.

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The DVD Wrapup: Fences, Elle, Passengers, Solace, Film/Not Film, Robert Flaherty, Drunk History and more

fences

A few eyebrows were raised when playwright-screenwriter Tony Kushner (“Angels in America”) was hired to build on a draft written by Wilson before his death in 2005. Finally, though, Wilson was given sole authorship of the adapted screenplay, as well as an Academy Award nomination, while Kushner is credited as co-producer. It explains why Fences sometimes feels as if it were transplanted directly from the stage and the establishing exteriors are limited to a few shots of Troy and Bono working in the streets of Pittsburgh, his visit to downtown headquarters to be promoted to driver and a shot of kids playing stickball. The movie never feels stagebound or contrived, however. Wilson’s genius for turning conversations into poetry is as evident as ever.

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DVD Geek: ARRIVAL, 100 RIFLES, HACKSAW RIDGE, FLASH S2

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The Weekend Report

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Friday Box Office Estimates

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The DVD Wrapup: Moana, Brand New Testament, Weissensee Saga, 100 Streets, and more

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“The greatest nightmare of any filmmaking experience I’ve ever had.”
Taylor Hackford Remembers Rocking Good Times Filming Chuck Berry

indie wire

“They don’t make very many comedies anymore, if you look at the marketplace. Comedies are really the one thing that’s gone by the wayside. There’s only a few people that mean anything in the world of comedy nowadays. Mainly, it’s women, the Melissa McCarthys. And they’re hysterical.”
Bobby Farrelly Says Comedy Filmmakers Are “Too “Sensitive”

“A lot of filmmakers invest in a story for years, but they also have stories they want to tell quickly. We wanted to utilize that moment and that way of thinking to bring cinematic and artistic works to the internet.”
Behind The Field Of Vision Doc Strand

“From Lee Garmes, I learned simplicity. He had an eye for composition and good taste. Boris Kaufman was from a different generation; he was a master of hard light. Like Harry Stradling, he knew how to use one large source and make it do the work of many lamps.”
Cinematographer Sol Negrin Was 88

“The broadband privacy rules are not some kind of blitzkrieg attack on monetizing consumer data, but simply a recognition of the importance of consumer consent.”
Senate GOP Votes To Allow Internet Providers To Sell User Private Data, Including Browsing History, Without User Consent

telegraph.co.uk

“Quite who Warner Bros imagined their target audience was for this is a mystery on a par with the Zodiac killings: the material seems aimed at a hyperactive eight-year-old boy with the jaded sexual palate of a vengeful divorcé.”
Robbie Collin Boots CHiPS Reboot

LA Times

“Horror is like any other genre – there are bad horror movies and great horror movies – but I think the great part of horror movies is discounted by the coastal elites, and it shouldn’t be. Horror has been kind of a forgotten genre, but what I’m doing – and will continue to do – is to say let’s not forget about it because it can be really important and relevant.”
Jason Blum

“He gave me dialogue pages, or sometimes it was even long monologues that he would type out the night before shooting, or even on the same day. Then he’d say, ‘Find what speaks to you.’ So you’d find one or two lines out of pages and pages that felt like something you would say, and you’d use that.”
Natalie Portman On Her Terrence Malick Double Feature

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“The worst thing that we have in today’s movie culture is Rotten Tomatoes. It’s the destruction of our business. I have such respect and admiration for film criticism. When I was growing up film criticism was a real art. And there was intellect that went into that. And you would read Pauline’s Kael’s reviews, or some others, and that doesn’t exist anymore. Now it’s about a number. A compounded number of how many positives vs. negatives. Now it’s about, ‘What’s your Rotten Tomatoes score?’ And that’s sad, because the Rotten Tomatoes score was so low on Batman v Superman I think it put a cloud over a movie that was incredibly successful. People don’t realize what goes into making a movie like that. It’s mind-blowing. It’s just insane, it’s hurting the business, it’s getting people to not see a movie. In Middle America it’s, ‘Oh, it’s a low Rotten Tomatoes score so I’m not going to go see it because it must suck.’ But that number is an aggregate and one that nobody can figure out exactly what it means, and it’s not always correct. I’ve seen some great movies with really abysmal Rotten Tomatoes scores. What’s sad is film criticism has disappeared. It’s really sad.”
~ Brett Ratner Has A Sad

“The loss of a local newspaper critic is a real loss. People who know the local audience and know the local cultural scene are very important resources. You can’t just substitute the stuff that comes in from nowhere through syndication or the wire. I think at the same time, some of the newer outlets have really beefed up and improved their coverage and made room for criticism. The real problem is in the more specialized art forms — fine arts, classical music, dance and jazz, say. There is a real slowing of critical voices, partly because those art forms have smaller audiences. Newspapers and magazines can say that doesn’t get enough traffic, so we don’t have room for that. To me, that’s especially worrisome. This is the opposite of what newspapers are supposed to do, which is not to try to figure out what people are already interested in and recite that back to them, but to hopefully guide them to something that they should be interested in, connecting potential audiences with more interesting work.

“Then again, not everyone needs a critic. People have been going to movies for more than 100 years now, and probably the vast majority of those people have not read movie reviews or cared what critics thought. But there has always been an important subset that wants to know more, that wants to think about what they’ve seen and what they’re going to see, and wants someone to think along with. I think critics are important, not just as dispensers of consumer advice — though that’s certainly part of it, too — but as trusted voices and companions for people to argue with in your head when you’re going to movies or afterwards.”
~ A. O. Scott