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MCN Originals

Friday Box Office Estimates

Friday Estimates  2015-04-18 at 8.42.17 AM

Furious 7 had already passed $1 billion worldwide thanks to nearly 3-to-1 overseas box office to domestic. That isn’t to say it’s not doing great at home. It seems sure to join the still ultra-elite $800m international club and has a shot at the $900 million+ club, which includes only the final Potter and the two mega-Cameron films. What is most remarkable is how we feel the cultural impact of this film as felt in… well, nothing. Paul (rhymes with) Blart: Mall Cop 2 is about a third off the start of the original. But given the family nature of the film, $20m+ is still likely for the weekend and it could actually surpass F7. It could also come close to playing like the also-eviscerated-by-critics first film. So somewhere, Kevin James is saying “Blart you,” even if the opening is overshadowed by Furious 7‘s third weekend. And the Jason Blum special, Unfriended, will not break any records with this opening, but again is inexpensive enough to make this a relatively successful launch. Not so much Monkey Kingdom, which is another case of the mighty Disney brand not flexing its muscles as you would expect with a quality family film.

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The DVD Wrapup: Babadook, Big Eyes, Happy Valley, Tale of Winter, Odd Man Out, The Missing and more

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Despite the warm welcome accorded The Babadook by festival audiences and critics of both the mainstream and genre persuasion, this nifty Australian export about things that go bump in the night received an unfairly puny release upon its arrival here. I can’t explain why that might be so, except to point out that someone in the distribution game really missed the boat.

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Wilmington on Movies: Ex Machina

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We’re in something of a golden age for movie science fiction—or at least a gold-plated one at least—and Ex Machina is a good example how that genre can be worked and reworked by a bright filmmaker who knows the form and how to play with it.

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Delivelution: April 2015 – Pt 2, Meet The New Bundle. Same As The Old Bundle

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The Weekend Report

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Friday Box Office Estimates

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Delivelution: April 2015 – Pt 1, Unscrambling Eggs

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variety

“The studio is already preparing to find the male lead and love interest.”
“Wonder Woman” Rumoring: MacLaren Wanted Braveheart Scale; Was “Unaccustomed” To The “Development Process”

variety

“Nothing aired by WikiLeaks could possibly be more destructive to Sony’s reputation than the release of Paul Blart: Mall Cop 2, the sort of movie that goes beyond mere mediocrity to offer possible evidence of a civilization in decline.”
Justin Chang Puts The Blame On James

NY Times

“A digital copy of a movie carries no history. It’s clean and new every time. It has no memory, and it has no soul.”
Oscar-Nominated Documentarian Stephen Bognar‘s “Op-Doc” And Essayed Ode To Arthouse Film Projection, The Last Reel

hollywoodreporter.com

Now That We Have All That Scintillating Backstory About Taxes And Tariffs Out Of The Way…
Trailering Star Wars: The Force Awakens 

Borys Kit: I’m Gaga For It

The Verge: We’ve Made GIFs Of Every Shot In The Trailer

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Quote Unquotesee all »

“I was a brat back when I made Pootie Tang. I was dealing with people every day whose pressures I didn’t understand, and I wasn’t very nice about how I said no to them. I put myself in a position I didn’t have to be in. A lot of what makes this kind of stuff work is empathy. If you’re taking money from somebody, they have a right to look after it. It’s all just trying to be clear about the arrangement. That’s why when I set up ‘Louie,’ I just said, ‘This is what I’m comfortable doing, and if you don’t want to do it, I don’t blame you. But in exchange, I’ll take very little money.’ I was only getting $200,000 per show from them, which is insane, and it goes up just by tiny increments every year. The other part of the arrangement with FX is that if this stops working for them, they should just tell me and we’ll stop doing it. Contractually, FX has a right to demand that the scripts be filtered through them before I shoot them, just like any other show. But from the beginning, they haven’t read anything, and they like the show. If I start turning in shit, then they’re going to start asking to see scripts, and that’s perfectly fair.”
~ Louis C. K.

BOMB: Do you give a lot of direction?

ASSAYAS: I give zero indications. Nothing. To me, it’s all physical. It is all about getting the right actors. They understand the part. They’re not idiots. They’re going to sit down, and they’re going to work. They don’t need my explanations. The problem is that actors listen to directors. They respect them. So, when you say something, it becomes gospel. In a certain way, this limits their imagination. I’d rather say nothing. Then, when we shoot, I fix whatever I don’t like. I channel it as softly as I can in a direction where, maybe, there’s something to gain. But, usually, if you are working with the right people, their instinct will be correct. They will bring something of their own to the character, and to the situation. Ultimately, there will be some kind of human truth to what they are doing.
~ Olivier Assayas on directing

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