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David Poland

By David Poland

Friday Estimates by Still Furious Klady

Friday Estimates  2015-04-11 at 8.02.37 AM

2 Responses to “Friday Estimates by Still Furious Klady”

  1. EtGuild2 says:

    Four indies in the top 10? Wow!

    It makes me angry that the phenomenal “About Elly” gets a token release (yes it’s old), while the insipid “Desert Dancer” gets the equivalent of a “Furious 7″ push for a foreign language film. And surprise…it’s tanking.

    Also, no numbers for the most inexplicable release I’ve seen in sometime, the atrocious “The Harvest,” the “horror/thriller” in which John McNaughton discovered that Michael Shannon, Samantha Morton, Peter Fonda and a select group of critics were undercover ISIS agents and forced them to make his first movie in 12 years and give it good reviews.

  2. movieman says:

    Another socko limited (very limited) bow for an A24 release (“Ex Machina”) that, most likely/highly frustratingly, won’t translate to mainstream success once its screen count begins expanding.
    Latest example of that unfortunate trend? “While We’re Young.”

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima