By Gregg Goldstein gcgoldstein@yahoo.com

Sundance Sales Chart Day Five

by Gregg Goldstein

Film Section Sales
Co
Odds Pros Cons First
Screening
Today’s Top Five
An Education World DrComp CAA 3:1 ’60s coming-of-age romance from scribe Nick Hornby with Sarsgaard, Molina, Thompson and a breakout Mulligan; ecstatic response prompted several bids Sunday night, but no deal yet. Pedigree, but no bankable stars makes it a risk. 1/18, 3p, Egyptian
Humpday DrComp Sub 3:1 Straight best buds link for gay porn; those who loved it really have a hard-on for it; said to finally be close to a deal … … though buyer may be dry-humping. No stars, a premise not for the squeamish, and failed to turn a few on 1/16, 12:15p, Eccles
Spread Prem CAA/
End
3:1 Gigolo satire from sexpert helmer of “Young Adam.” Lots of T (female) and A (Ashton Kutcher). Played like a wide-release commercial film. Some mixed on its quality, some low-balling offers. Ashton Kutcher and Anne Heche don’t scream “smart comedy” to prospective moviegoers 1/17, 9:15p, Eccles
I Love You Phillip Morris Prem CAA/
End
3:1 A Carrey/McGregor prison romance from writers of “Bad Santa.” Fascinating true con-man story with a dozen twists and turns, with some great audience response. A comedy? A drama? A romance? A crime thriller? One thing’s for sure, lots of gay sex. Some concerned about NC-17. More worried how to market. 1/18, 9:30p, Eccles
World’s Greatest Dad Spectrum CAA/
Cin
4:1 Robin Williams in another dark comedy from “Sleeping Dogs Lie” writer/director Bobcat Goldthwait. Some loved it … … others felt it was just crass with flawed execution of good idea. 1/18, 5:30p, Library
Other Narratives In Play
Big Fan DrComp Andr
Hur
4:1 Some good early response to dark sports fanatic spoof directed by “The Wrestler” scribe. Others not such big fans. Despite a good performance, star Patton Oswalt an unproven commodity 1/18, 8p, Racquet Club
The Greatest DrComp End/
CAA
4:1 Tearjerker with Brosnan and Sarandon called “as fine a debut as we can present”; packed an emotional wallop for many. Son dies in car accident: not a great sales pitch. Buyers dragging feet a bit. 1/17, 3:15p, Eccles
In The Loop Premieres Prot 4:1 James Gandolfini in satire of war and politics could be a sleeper hit; word-of-mouth building from pre-fest screening Small, filled with unknown Brits and distinctly British humour 1/19, 11:15a, Yarrow
Moon Premieres 4:1 Compelling 2001-style sci-fi thriller getting good buzz from two P&I screenings. Sony Pictures WW Acq Group has English language rights and looking for theatrical partner Perennial Sundance fave Sam Rockwell, the only on-screen talent, not a box office draw. If that good, why is Sony looking to partner? 1/23, 6:15p, Eccles
Motherhood Premieres End 4:1 Harried-mom comedy with Thurman, Edwards, Driver Urban anxiety can make for anxious audiences 1/21, 9:30p, Eccles
Push: Based on the
novel by Sapphire
DrComp Cin 4:1 Standing O for audacious portrait of abused girl; vivid performances by Mo’Nique and wacky supporting cast (Mariah Carey, Sherry Shepherd, Lenny Kravitz). Should eventually sell … … but how long will it take? And how do you sell it? Upcoming out-of-town buyer screenings may answer those questions 1/16, 8p, Racquet Club
The September Issue Doc Comp CAA 4:1 Rare inside look at the alleged inspiration for “The Devil Wear’s Prada,” Vogue’s Anna Wintour; some positive early buzz. Sellers still have to convince buyers it’s as theatrical as its subject and that there’s enough Devil with the Prada; no immediate nibbles 1/16, 6:30p, Rose Wagner
The Winning Season Premieres Cin 4:1 Female “Bad News Bears” centering on high school basketball team, Emma Roberts, late add like top-seller “Hamlet 2″ Sam Rockwell films sell big at Sundance, but haven’t performed. James Strouse a Sundance fave … but not for comedy 1/19, 8:30p, Library
Amreeka Dr Comp WM 5:1 Sometimes humorous, very topical struggle of Palestinian mom on West Bank; some positive reviews. No stars, Iraq war backdrop, and some not as enthusiastic; will need more critical response 1/17, 12:15p, Eccles
Arlen Faber Dr Comp CAA/
ICM
5:1 Daniels, Graham, Pucci in romantic tale of reclusive author Jury still out, but some mixed-to-negative reactions. 1/18, 5:15p, Racquet Club
Brief Interviews with Hideous Men Dr Comp CAA 5:1 Hot star John Krasinski directing, starring and adapting from David Foster Wallace novel Adaptations are tricky, and not every sitcom star is Zach Braff. Slot after heated sales lineup weekend 1/19, 3:15p. Eccles
Endgame Prem End 5:1 Good cast (Hurt, Ejiofor) in South African apartheid thriller Did anyone get to see it? CNN currently chock full of other real-life political thrillers 1/18, 6:15p, Eccles
Five Minutes of Heaven World DrComp UTA 5:1 Liam Neeson, James Nesbitt and director of “Downfall” Violence in Northern Ireland. Good times. 1/19, 6:30p, Egyptian
Paper Heart DrComp UTA 5:1 Two words: Michael Cera. Sale of flawed all-star “Brooklyn’s Finest” bodes well; some in audience responded well … … some, not so much. Response at premiere didn’t improve muted reaction to screener much 1/17, 8p, Racquet Club
Peter & Vandy DrComp End 5:1 Some good buzz behind Manhattan romance with Sundance “Teeth” award-winner Weixler Stage adaptations risk being stagey; Star Ritter must live down last year’s “Good Dick” 1/19, 8p, Racquet Club
Shrink Premieres WM 5:1 “In Treatment” has proven the appeal of therapy dramas Spacey’s star power has shrunk; Hollywood inside baseball? Press screening bumped to Tuesday … at 11PM? 1/20, 11p, Holiday Village II
Cold Souls DrComp Cin 6:1 Giamatti, Strathairn, Watson, Ambrose in a unique “metaphysical tragi-comedy”; Canadian rights acquired by E1 Films Canada Chilly response from some south of the border 1/17, 5:15p, Racquet Club
Dare DrComp xCin 6:1 Sex-charged teen romance featuring Emmy Rossum Supporting cast (Gasteyer, Cumming, Bernhard) from many an indie stinker 1/19, 5:15p, Racquet Club
The Killing Room Mid CAA 7:1 Psychological thriller with compelling premise and solid indie cast slayed some audience members … … while others feel it’s a pretentious “Saw”; could middling response kill its chances? 1/16, 11:30a, Prospector
The Messenger Premieres UTA 7:1 Talented scribe Oren Moverman’s directing debut Another Iraq war drama; Ben Foster, Harrelson have spotty track records 1/19, 9:30p, Eccles
Don’t Let Me Drown DrComp Loeb
Loeb
8:1 Latino high schoolers in post-9/11 romantic drama; getting some very positive reaction and potential awards traction No stars, premise depressing on paper. 1/18, 12:15p, Eccles
Helen Spectrum Little 10:1 Ashley Judd sinks her teeth into bipolar role, and can sell some ancillary Seems to be depressing buyers, and audience response is tepid 1/16, 8:45, Library
Manure Premieres v 10:1 Thornton, Leoni, McLachlan in what could be the Polish Bros’ Coen Bros moment with a ’60s period comedy Polish Bros artiness sometimes overwhelms all else 1/20, 9:30p, Eccles
Mary & Max Opening Night Icon 10:1 Quirky Aussie claymation from Oscar-winning director good enough to attract Hoffman and Collette Too quirky for many at the opening night screening, garnering mixed reactions 1/15, 6p, Eccles
Mystery Team Midnight Sub 10:1 Potential sleeper with foul-mouthed teens; could hit right chord; got some good reviews. Others not as enthused by comedy troupe’s feature as their online shorts. No-name cast. 1/17, 11:30p, Library
Toe To Toe DrComp WM 10:1 Complicated relationship between two female high school teammates; interracial issues a hot topic. A few good reviews. No stars, and some uncertainty. Buzz not strong, but can later word-of-mouth help? 1/16, 3:15p, Eccles
The Vicious Kind Spectrum ICM 10:1 Tough portrait of emotionally damaged father See “Pros”; more need to see for verdict 1/17, 8:30p, Library
Other Documentaries In Play
The Carter Midnight Cin 4:1 One of the hottest selling rappers in a hurting music biz, Lil’ Wayne. Not much rapping among buyers, but the fest is young; will the audience for this film go to the theater or wait for DVD? 1/17, Midnight Eccles
Good Hair Doc Comp ICM 4:1 If every black hair magazine reader buys a ticket to producer/star Chris Rock’s comic, celeb-filled take on the topic, it’s a hit. Great early reaction. Interest in niche topic could be hair today, gone tomorrow 1/18, 9p, Temple
Passing Strange Spectrum: Docu Spotlight End 5:1 Spike Lee filmed this unconventional, Tony-nominated musical, and both names will help sell the project: some good initial word growing Still has to show its theatrical pull 1/16, 2:30p, Library
Art & Copy Doc Comp Sub 6:1 Ad industry study getting good word of mouth; could it be this year’s “Helvetica?” Amidst interest, some are questioning commercial appeal 1/16, 5:30p, Prospector
Reporter Doc Comp Films
Trans
6:1 A New York Times reporter’s valiant attempt to put an African crisis on the map speaks volumes about the state of journalism today Most political docs have had a tough boxoffice ride 1/16, 9:30p, Temple
We Live In Public Doc Comp Sub/
Cin
6:1 Stranger than fiction dot-com boom art experiment from Web entrepreneur Must rise above Discovery Channel audience interest to sell 1/19, 6p, Temple
When You’re Strange Doc Comp Sub/
Cin
6:1 Indie vet Tom DiCillo unveils all-original footage of The Doors Video sales assured, but will it break on through to theatrical? Some industry office screener feedback less than stellar 1/17, 9p, Temple
The Cove Doc Comp Sub/
WM
7:1 Fascination with dolphins may propel sale of this dark tale; some very emotional audience reactions Animal Planet shows wade in similar waters 1/18, 3p, Temple
No Impact Man Spectrum: Docu Spotlight Cin 8:1 Family undertakes controversial experiment to live a year with no carbon footprint; could tap “An Inconvenient Truth” audience Another inconvenient truth: many socially conscious docs have no theatrical impact 1/16, 11:30a, Library
Why We Laugh: Black Comedians on Black Comedy Spectrum WM 8:1 Robert Townsend interviews a Who’s Who of top comedians. The next Kings of Comedy? DVD co. is a producer, so no pressure for theatrical sale 1/17, 5:30p, Prospector
Big River Man World Doc Comp Salt 20:1 Slovenian man’s attempt at record swim could be Michael Phelps meets “Grizzly Man” No waves just yet. 1/16, 3:15p, HV4

FILMS SOLD SO FAR …

Film Buyer Sales
Co
Section Pros Cons First
Screening
Brooklyn’s Finest Senator Ent
& Sony Pictures
WM/
CAA
Prem Gere, Cheadle, Hawke, Snipes, Barkin in cop drama from “Training Day” director. Film went out with a bang audiences hated, but director is cutting. Not the feel-good film of the year. Audience liked sections of it, hated others, but helmer has until fall to tweak. 1/16, 6:15p. Eccles
Black Dynamite Sony Pictures End Mid Good response leads to overnight sale. May be too culty for its own good, but at 2 million a safe bet. 1/18, 11:30p, Library

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch