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David Poland

By David Poland poland@moviecitynews.com

BYOB – Weekend

byobweekend

17 Responses to “BYOB – Weekend”

  1. Joe Leydon says:

    I am preparing the syllabus for a course titled Introduction to Motion Pictures, and I’m seeking suggestions regarding what to screen for students. Keep in mind: This is not History of Film — it is, as the catalog description states: “Introduction to the art, technology, economics, and social aspects of film.” I’m thinking of showing films that best represent specific genres and national cinemas — maybe a Bollywood movie here, a film noir there, and at least one French New Wave title — but, as I say, I’m open to suggestions.

  2. Pete B. says:

    For a film noir, what about 1940′s Brother Orchid with Edward G. Robinson? It’s one of my faves, but it doesn’t have a ‘classic’ noir ending.

  3. Luke K says:

    Here’s a list:

    I chose to go more modern as genre can be historical but will capture more relevance with college kids if it’s somewhat more relateable.
    SCI-FI: Minority Report. Asks cultural SCI-FI morality questions and many of the detailed prognostications like facial recognition, virtual reality etc are coming true. It had a strong social message too.
    -Blade Runner obvious great back up.
    -Gravity 3D if you want to touch the technology angle.
    Western: Unforgiven. Lots of genre touches but still plays well as a tale of revenge.
    -Searchers is a good back up.
    Animation: Spirited Away as it’s multi layered and a modern day Fairy tale.
    -Or The Incredibles as it’s got great family dynamics but more than ever ties into the superhero craze and deconstructs it a bit.

  4. EtGuild2 says:

    Art: Bergman or Antonioni
    Technology: Citizen Kane/2001
    Class economics: The Rules of the Game
    Economics of film: Clerks or Mad Max
    Social Implications: Guess Who’s Coming to Dinner, or Midnight Cowboy (don’t do To Kill a Mockingbird, it’s still standard high school watching)

  5. Howard Curle says:

    Joe:
    I’ve been teaching film studies for 25 years. Forget relevance, go with strong humanist stories. Here’s ten: “Character”, “Crimes and Misdemeanors”, “Do the Right Thing”, “Eternal Sunshine of the Spotless Mind”, “High Tide”, “Lamerica”, “Nowhere in Africa”, “The Return”, “The Station Agent”,”You Can Count on Me”.

    Howard Curle
    Winnipeg

  6. Joe Leydon says:

    Damn. Thought I was the only one who remembered High Tide.

  7. cadavra says:

    Opening night, show THE GENERAL. All four topics in one film. Plus one you’ve gotten them to sit through and enjoy a film that’s not only B&W but silent, the rest will be a cakewalk.

  8. Joe Leydon says:

    Actually, I have screened The General several times for students, and it almost always gets a good response.

  9. Scott says:

    Singin In The Rain is not just a great musical, but a good history lesson on the birth of talkies, and far more entertaining than those early talkies.
    Sure, its an obvious choice, but sometimes the obvious choices are the best.

  10. KMS says:

    Try to work in (many of) the following:

    - The General / Sherlock Jr.
    - City Lights
    - Duck Soup
    - The Rules of the Game
    - Pinocchio
    - Bicycle Thieves
    - Tokyo Story
    - La Strada
    - The Searchers
    - The 400 Blows
    - Dr. Strangelove
    - The Graduate/Bonnie and Clyde/Midnight Cowboy/They Shoot Horses, Don’t They?
    - 2001: A Space Odyssey
    - Gimme Shelter
    - McCabe & Mrs. Miller
    - Walkabout
    - The Godfather 1 & 2
    - Chinatown
    - A Woman Under the Influence
    - Taxi Driver
    - Annie Hall
    - Close Encounters of the Third Kind
    - This Is Spinal Tap
    - Superstar: The Karen Carpenter Story
    - The Thin Blue Line
    - Die Hard
    - Do the Right Thing

  11. Glamourboy says:

    ahhh…Nashville

  12. movieman says:

    I’ve been teaching a History of Motion Pictures class at a state university for 11 years. But it wasn’t until last fall that I decided to devote the second half of the semester to the New Hollywood era rather than attempt to cover “everything” (New Hollywood, French and German New Waves, the Sundance era, “contemporary cinema,” etc.) from 1964 to present day. I thought it worked out pretty well.
    I began with “Bonnie and Clyde,” then segued to “Medium Cool,” “McCabe and Mrs. Miller,” “The Last Picture Show,” “Chinatown,” “Shampoo,” and “All the President’s Men.”
    This semester I kicked off w/ “The Graduate” and “Midnight Cowboy.”
    Next up? “A Clockwork Orange,” “Cabaret,” “The Conversation,” “Nashville” and “Coming Home.”
    I’m also including extended clips of other historically/culturally important films from the period like “The Wild Bunch,” “Easy Rider” and “2001.”
    One film that I’d love to show (but am deathly afraid to screen) is “Last Tango.” Considering the fact that one (female) student complained to my department head after I showed Fassbinder’s “The Merchant of Four Seasons” a few years back (she said it was “soft core porn”), I’m worried that “Tango” will have some timid souls running for the hills…and demanding my immediate termination.
    Kind of funny–but sort of great–that a 40-plus year old movie still has the potential to disturb/upset audiences. Particularly if they’re 21st century college students weaned on a diet of Marvel Comic Book movies, CGI ‘toons, YA “franchises,” torture porn and videogames.

  13. Joe Leydon says:

    For the past several semesters, I have structured my Social Aspects of Film course as an overview of the New Hollywood era. Basically, 1967-80. The lineup varies slightly from semester — occasionally, I drop Rosemary’s Baby, Two Lane Blacktop, The French Connection, Nashville, Coming Home or Raging Bull into the mix — but I just about always show Bonnie and Clyde, In the Heat of the Night, Easy Rider, MASH, Harold and Maude — just to give them a good idea what freakin’ weird stuff got green-lit by studios back in the day — American Graffiti, Shampoo, All the President’s Men, Chinatown, Network and Rocky.

  14. Joe Leydon says:

    Don’t suppose anyone bothers to stay up this late anymore to post on this site but: I have to remember that some students have never seen a silent movie, or a black and white movie, or a western, before they see one in my class. Seriously.

  15. KMS says:

    The Conversation gets better every time I see it.

  16. SamLowry says:

    “Can you believe that Warner Bros. was hesitant to green-light ‘The Matrix’?”

    Ha! I can believe Warner was so hesitant to finance THE LEGO MOVIE that they sold half the profits to Village Roadshow.

    Idiots.

  17. christian says:

    Joel Silver sent THE MATRIX script and storyboards to the game company I was writing for in 98 to see if we wanted to do a game – nobody cared except me as the the script was unique and the storyboards were incredible (which is how they sold the film)…Had we taken on the game…

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The Hot Blog

Leonard Klady's Friday Estimates
Friday Screens % Chg Cume
Teenage Mutant Ninja Turtles 7.9 3980 -69% 97.2
Guardians of the Galaxy 6.9 3697 -44% 204.4
The Expendables 3 5.8 3221 NEW 5.8
Let's Be Cops 5.6 3094 NEW 14
The Giver 4.7 3003 NEW 4.7
Into the Storm 2.3 3434 -65% 25.9
The Hundred-Foot Journey 2.1 2043 -43% 18.6
Lucy 1.6 2520 -44% 103.8
Step Up: All In 0.75 2072 -74% 9.9
Hercules 0.6 1475 -67% 66.6
Also Debuting
Singham Returns 0.2 127
Anjaan 61,500 57
The Trip to Italy 32,600 6
Frank 5,500 1
Life After Beth 5,300 2
Lovers 3,500 9
Fort McCoy 2,600 2
Abuse of Weakness 2,600 1
Dinosaur 13 2,500 14
Jelousy 1,700 1
3-Day Estimates Weekend % Chg Cume
It was supposed to be a horse race (notwithstanding Belmont) but at the finish line the singular teen romance The Fault in Our Stars left the competition in the dust with an estimated $48.1 million debut. Conversely, the frame’s other major release Edge of Tomorrow proved disappointing in a distant second at $28.9 million.
Exclusive newcomers were strong, including a solo Manhattan campaign of $9,400 for Citizen Koch. Much-ballyhooed abortion-themed rom-com Obvious Child proved fertile with $84,100 at four dispensaries.
In the niches, Indian import Holiday partied fair at $373,000 while Pinoy romantic comedy Maybe This Time grossed an impressive return of $552,000 on a trifling 51 screens.
Revenues for the session exceeded $160 million and ebbed 3% from last weekend’s tally. It was 8% improved from 2013 when the debut of The Purge posted $34 million and holdovers of Fast & Furious 6 and Now You See Me duked it out for place position with respective box office of $19.6 million and $19 million.
Industry tracking pitted The Fault in Our Stars against Edge of Tomorrow with the former demonstrating a slight edge as it picked up momentum toward opening day. The adaptation of John Green’s YA novel of teens who strike sparks in a cancer support group had a prognosis of $35 million.
The tide truly turned when Fault generated $8.2 million and Edge took in $1.8 million from Thursday previews. Crystal ball-gazers upped the ante to $55 million but the picture took another surprise turn with an unexpected 31% drop from Friday to Saturday business. Strong WOM in exit polling bodes well to broaden the opening weekend crowd, a predictaly 82% of women and was 79% aged 25-years and younger.
Edge of Tomorrow appeared to suffer from the amusement park factor with the movie crowd opting to skip this particular fun ride. Tracking had pegged the pic to open at between $32 million and $34 million. Reviews were upbeat for the futuristic mayhem with a Groundhog Day twist that opened a week earlier in 27 international territories to $18.7 million.
Exit demos also indicated that the sci-fier wasn’t particularly stepping on Fault’s toes with a 61% male tilt and 73% of the audience aged 25-years and older. A studio spokesman expressed confidence for a strong second weekend hold but history and upcoming competition definitely have the picture bucking considerable odds. International prospects are already ahead of Edge of Darkness’s likely final domestic tally with a second weekend estimated at $82 million that included a $25 million bow in China, $16.6 million in South Korea and Russia with $8.6 million.
Open Road's Chef expanded effectively again, prepping $10 million domestically.
Weekend (estimates) June 6 - 8, 2014
Title
Distributor
Gross (average)
% change *
Theaters
Cume
The Fault in Our Stars
Fox
48.1 (15,160)
NEW
3173
48.1
Maleficent
BV
33.6 (8,520)
-52%
3948
127.5
Edge of Tomorrow
WB
28.9 (8,280)
NEW
3490
28.9
X-Men: Days of Future Past
Fox
14.9 (4,090)
-54%
3639
189
A Million Ways to Die in the West
Uni
7.2 (2,270)
-57%
3160
30.1
Godzilla
WB
6.0 (1.920)
-50%
3110
185.1
Neighbors
Uni
5.2 (1,940)
-36%
2674
137.8
Blended
WB
4.0 (1,370)
-51%
2928
36.5
Chef
Open Road
2.5 (1,940)
32%
1298
10.3
The Amazing Spider-Man 2
Sony
1.9 (1,290)
-46%
1481
196.3
Million Dollar Arm
BV
1.8 (1,120)
-49%
1643
31.4
Belle
Searchlight
.75 (1,580)
-40%
476
7.6
Rio 2
Fox
.72 (1,030)
-35%
702
125.6
Maybe This Time
ABS
.55 (10,820)
NEW
51
0.55
The Other Woman
Fox
.48 (980)
-65%
489
83.2
Captain America: The Winter Soldier
BV
.43 (1,360)
-31%
317
255.9
Holiday
Big Pictures
.37 (2,590)
NEW
144
0.37
Heaven is for Real
Sony
.37 (830)
-54%
446
88.8
Words and Pictures
Roadside Attractions
.29 (2,940)
269%
98
0.54
Grand Seduction
eOne
.28 (3,020)
-13%
97
0.82
The Lego Movie
WB
.26 (960)
-5%
274
255.8
The Grand Budapest Hotel
Fox Searchlight
.24 (1,280)
-37%
185
57.8
Ida
Music Box
.21 (2,540)
-10%
84
1.3
The Immigrant
Weinstein
.19 (1,320)
-39%
145
1.4
Divergent
Lionsgate
.19 (650)
-43%
298
149
Weekend Total ($500,000+ Films)
$156.60
% Change (Last Year)
8%
% Change (Last Week)
-3%
Also debuting/expanding
Fed Up
Weinstein Co.
83,600 (950)
-49%
88
1.2
Obvious Child
A24
84,100 (21,030)
4
0.08
Cold in July
IFC
68,900 (970)
-38%
71
0.25
Night Moves
Cinedgm
48,500 (1,520)
126%
32
30,800
Lunchbox
Sony Classics
50,700 (1,100)
-9%
46
4.1
Filmistaan
UTV
35,500 (1,480)
24
0.04
WolfCop
Echolands
34,900 (4,360)
8
0.03
Ping Pong Summer
Gravitas
26,400 (1,760)
15
0.03
Supermensch: The Legend of Shep Gordon
Weinstein Co.
23,200 (5,800)
4
0.02
Only Lovers Left Alive
Sony Classics
22,800 (760)
-53%
30
1.6
Tracks
Mongrel
13,800 (2,760)
5
0.01
Citizen Koch
Variance
9,400 (9,400)
1
0.01
Trust Me
Paladin
5,100 (565)
9
0.01
Burning Blue
Film Arcade
4,600 (380)
12
0.01
The Case Against 8
Submarine
4,300 (1,430)
3
0.01
Test
Variance
2,400 (800)
3
0.01
Domestic Market Share (Jan. 1 - June 5, 2014)
Distributor
Box Office
Market Share
Warner Bros. (12)
728.5
16.80%
Buena Vista (11)
677.1
15.60%
20th Century Fox (11)
615.2
14.20%
Sony (11)
577.7
13.30%
Universal (10)
540.5
12.50%
Paramount (8)
322.2
7.40%
Lionsgate (13)
285.4
6.60%
Open Road (6)
95.1
2.20%
Fox Searchlight (5)
83.7
1.90%
Weinstein Co. (12)
76.5
1.80%
Relativity (5)
75.5
1.80%
FreeStyle (6)
68.9
1.60%
Focus (6)
39.2
0.90%
eOne/Seville (14)
35.3
0.80%
Other * (142)
107.9
2.60%
4328.7
100.00%
* none greater than 0.4%
Top Domestic Grossers (Jan. 1 - June 5, 2014) *
Title
Distributor
Box Office
The Lego Movie
WB
255,590,340
Captain America: The Winter Soldier
BV
255,447,104
The Amazing Spider-Man 2
Sony
194,388,396
Godzilla
WB
179,093,006
X-Men: Days of Future Past
Fox
174,401,266
Divergent
Lionsgate
148,811,524
Frozen *
BV
137,534,677
Ride Along
Uni
134,965,071
Neighbors
Uni
132,600,495
Lone Survivor
Uni/eOne
125,026,404
Rio 2
Fox
124,909,565
Mr. Peabody & Sherman
Fox
110,162,081
300: Rise of an Empire
WB
106,601,189
Noah
Par
100,950,258
Maleficent
BV
93,846,968
Non-Stop
Uni
91,869,306
Heaven is for Real
Sony
88,412,645
American Hustle *
Sony/eOne
82,661,672
The Other Woman
Fox
81,725,819
The Monuments Men
Sony
78,132,865
* does not include 2013 Box Office