The Hot Blog Archive for September, 2006

Klady's Friday Estimates & BO Hell – 9/30

(Note: A typo in friday’s numbers put Jackass: Number Two at $6.2 million. The correct number was $4.2 million)
Title | Distributor | Gross * | Theaters | % Change | Cume
Open Season | Sony | 6.2 | 3833 | | 6.2
The Guardian | BV | 5.8 | 3241 | | 5.8
Jackass: Number Two | Par | 4.2 | 3063 | -63% | 41.9
School for Scoundrels | MGM | 2.7 | 3004 | | 2.7
Fearless | Focus | 1.4 | 1810 | -61% | 14.5
Gridiron Gang | Sony | 1.3 | 3033 | -56% | 30
The Illusionist | FS/YF/Odeon | 0.8 | 1319 | -21% | 29.4
Flyboys | MGM | 0.7 | 2033 | -64% | 8.3
The Black Dahlia | Uni | 0.6 | 2009 | -55% | 19.2
Little Miss Sunshine | Searchlight | 0.6 | 1065 | -31% | 51.7
All the King’s Men | Sony | 0.5 | 1520 | -63% | 5.1
Also Debuting
Facing the Giants | IDP | 0.4 | 441
The Last King of Scotland | Searchlight | 41,000 | 4
A Guide to Recognizing Saints | First Look | 28,000 | 8
Journals of Knud Rasmussen | Odeon | 12,000 | 43
Broken Sky | Strand | 1,500 | 1
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Clarity On Gurus

I don

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Rinko Kikuchi

She’s one of the two little-known “it” girls of Babel and she landed in Los Angeles ever so briefly..
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A quick QT look…

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Good Sheet/Bad Sheet?

AND NOW – The Trailer
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A great poster or a terrible poster? I’m really not sure myself…

36 Comments »

Gurus Of Gray – Post-Toronto Wrangling

Penelope Cruz is getting the media committment that might shove her into an actual nomination… George Clooney gets thrown into the ring sight unseen… Love for The Departed starts turning up in earnest… and Dreamgirls, Mirren & Whitaker are your early leaders…
The new charts

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Lunch With David – Atonement Day Is Coming!

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Here It Is

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Von Triers Does Art Porno

Just when you thought the bad sex movie posing as art was killed off by the suprisingly superior Shortbus, Lars Von Trier invests in a dirty movie that looks like a 70s skin flick. But he got distribution in the U.S… on DVD… by porn distributor Wicked Pictures. Oy.
The film is called All About Anna and it even has its own MySpace page.
The nice thing is that there is both a very earnest explanation of the film and a Dogma 95 Manifesto specifically for films like this, called “The Puzzy Power Manifesto“. It includes such tidbits as: “It is not enough for four unknown actors to enter stage right, drop their pants and simply get down” and “The films must be based on woman

20 Comments »

Sometimes A Blackberry…

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When two e-mail subject lines are funnier than one… or maybe not.

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Why We Don't Link To Caryn James Much

A reader sent in a note asking:
“I was reading the NY Times article on All the King’s Men and was wondering about their referral of Toronto as a “nonexclusive” festival. My knowledge seems to contrast their reference, or am I taking their comment out of context? Are they referring to strictly Oscar races that Toronto would not aide?”
I wasn’t really sure what this person was talking about because I bailed out of the Caryn James piece when it was clear that she was doing her usual “I told you so” after the fact schtick, loaded with assumptions she really knows nothing about. When she is right about something like this, it is by mistake.
But looking for the specific reference the e-mailer was calling out, I found:
“Oscar-ready films that have opened in September, like

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Departed Discussions

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Leonardo DiCaprio
Matt Damon
Vera Farmiga

19 Comments »

Harvey's New Scam

With Bobby resting uncomfortably on life support, Harvey needs a brand new bag.
And that bag is… Sienna Miller.
The sad part of the Harvey ramp-up is that it has become so ham fisted that this kind of laughable nonsense now leaks out of the same handful of walking orifices every time. That group now includes Tom O’Neill, Jeffrey Wells, and the late charging (in this case) Roger Friedman, who should be doing a story on Sienna as an Oscar frontrunner about…. now.
Have you noticed that Harvey’s other game of the year – the record breaking standing ovation – is now happening at every festival where American journalists don’t seem to be in attendance at the screening. Clerks II at Cannes

51 Comments »

Holy One Sheet!

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Looks like it’s either going to be so audacious as to be a major event or so audacious that it loses 85% of the audience… we soon shall see…

26 Comments »

Why Studio 60 Sucks

I hated the pilot… but the pilot made the second episode look like genius.
The truth of the matter seems to be that Aaron Sorkin is making a show about making an hour long drama and not really about live TV or SNL or anything else. Not surprisingly, Sorkin doesn

64 Comments »

THB – And so, another circle jerk begins.

After it screened for a selected audience guaranteed to love it and for an Ain’t It Cool News crowd in Austin that was guaranteed to love it, the jungle drums are beating over Apocalypto.
So let me take a moment now to engage with reality.
This is exactly the strategy he used on The Passion of the Christ, though its screenings were further from the release date and, because of the material, it was inherently more divisive. There is nothing surprising in any filmmaker repeating the steps that led to a big success on their last film.
Mel Gibson knows how to make an action film with intense emotional peaks. Always has, drunk, sober, crazy, sane, anti-Semitic or in love with Barbra Streisand. There was never any question that Apocalypto was going to be interesting, likely visually compelling, and that language was not going to be an issue, anymore than it was for The Passion of The Christ – which, like it or not, was a strong, extremely brutal action film.

The rest…

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Sunday Estimates by Klady

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The Hot Blog

Quote Unquotesee all »

“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson