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David Poland

By David Poland

Friday Estimates by The Royal Wedded Klady


12 Responses to “Friday Estimates by The Royal Wedded Klady”

  1. Doug R says:

    See the Deadpool 2 thread for my SPOILERIFIC BO joke.

  2. Bulldog68 says:

    I think this weekend has solidified BP’s victory over IW on the domestic race. With a Solo getting more eyeballs next weekend, I don’t think IW has $100m left in the tank. Maybe Memorial Day will help, but I think BP remained too strong for IW to cover that ground. Nice problem to have though, whether both your movies will make $700m.

  3. JS Partisan says:

    I’ll take that bet, BD. Memorial Day should help, and it’s getting number three all time.

  4. movieman says:

    Very disappointed in “Disobedience.”
    Like the “Chorus Line” song, I felt nothing.
    And I’ve enjoyed a lot of movies about insular Hassidic communities and lesbians.
    Weird how McAdams and Nivola’s British accents fade in and out from scene to scene. No continuity person(s) on set?
    A major letdown from Lelia, esp. after his Oscar-winning “Fantastic Woman.”

    But very much enjoyed “RBG” which I saw at a packed (!) house (w/ myriad demographics!) this afternoon.
    A fascinating true-life story that I didn’t know all that well, and a terrific appetizer for Mimi Leder’s upcoming Focus RBG biopic.

  5. Non-Revisionist says:

    Movieman, it’s RBG. And Natalie Portman isn’t playing her in the upcoming movie. Felicity Jones is.

  6. Arisp says:

    As a film going experience, A QUIET PLACE, which I just saw, is leaps and bounds more enjoyable than either of the current Marvel sausages. Wow what a fun film – with real stakes, unlike any of the comic book pablum.

  7. movieman says:

    Correction made, N-R.
    I guess I was typing faster than I was proof-reading.

    Felicity Jones? Oy.
    I guess the project has undergone some casting changes since first announced.
    (Btw, Portman would have been brilliant.)

    Is this Leder’s first theatrical release since 2000’s “Pay It Forward”?

  8. Sideshow Bill says:

    There is room in my heart for A Quiet Place, Infinity War and Phantom Thread. Or First Reformed which I am dying to see. Why do we have to separate everything?

  9. JS Partisan says:

    Bill, it totally came across as a whole, “I hate things that are popular,” post. It’s totally not getting how this all should work. The first movie was a train. A literal train. Seriously, being a snob about film is just weird.

  10. Hcat says:

    It’s not like A quiet place is anyway unpopular. That it continues to drop under 40 is remarkable.

  11. Hcat says:

    Arise, if you want real stakes you should check out the white knuckle ride that is Book Club, where every single character and 60% of the audience could die at any moment.

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
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