MCN Originals

The Weekend Report

Weekend Estimates 2015-03-01 at 8.58.09 AM

The audience enjoyed the scams of Focus led weekend viewing with an estimated $18.9 million. The session’s other wide newcomer The Lazarus Effect slotted fifth with $10.7 million.

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Friday Box Office Estimates

Friday Estimates 2015-02-28 at 8.40.39 AM

Focus unlikely to open to $20 million, which is not good news for any of the already superstar-deprived studios. The Lazarus Effect heads right back into the grave. Fifty Shades of Grey continues to drop like a pair of Anastasia’s panties.

And Oscar bumps arrive, but in minor fashion, for Birdman (estimated $530k Friday from last week’s $247k) and Still Alice ($750k from $685k).

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51 Weeks To Oscar


The Academy is acting like a supermodel who is deeply worried that her boyfriend is going to leave because she has a zit. And the answer is, men do leave supermodels. And that insecurity haunts the most beautiful and the most plain. But when you are going out there for the show, if people start noticing you are insecure, your career is over. When you are in public, you need to be all in, turned on, rocking the world because you “know” you have what everyone else wants.

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The Gronvall Report: Shlomi Elkabetz on GETT: THE TRIAL OF VIVIANE AMSALEM

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The DVD Wrapup: Whiplash, The Connection, Fellini, Godard, Ozu, Gene Autry and more

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Review: Focus (non-spoiler until marked)

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The Weekend Report

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“No. We made it into a —ing movement. Zef is like dirt, it’s like scum, there was no zef movement before we came along. It was an insult, it’s like eurghh, talking —- about people. It’s a word made up by non-zef people, Afrikaans people talking —- about their dress: ‘Eurgh that dress is so zef, it’s disgusting.’ We just wanted to do something that was violently South African and not be mistaken for —-ing anything.”
A Modest Primer On Zef, Ninja And ¥o-landi Vi$$er And What’s Behind Chappie

“I’m a straight, white male, and I’ve had more opportunities than other people have, unjustly. And I’ve been lucky on top of that.”
Logan Hill Talks Scorsese, Baumbach “Girls” And Good Fortune With Adam Driver

NY Times

“’And I had the money,’ Mr. Geffen said.”
Avery Fisher Hall To Become David Geffen Hall For A Mere $100 Million

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Quote Unquotesee all »

“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228