The Hot Blog Archive for October, 2006

Halloween In SaMo

How does showbiz’s West Side roll with All Hallows Eve?
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Interesting Screener Thing

I just threw Little Miss Sunshine into the DVD player for the first time, mostly to make sure the disc was working, and I have had a bit of a baby revelation .
This movie plays a lot better on DVD than on a big screen.
People talk about the number of DVDs and the delivery dates a lot. But a small scale movie with strong performances, a lot of close-ups, and of course, status as a comedy, does seem to have a real advantage on DVD. And in this case, it is a movie with a lot of pastels, which really jump in a different way on the TV screen. The color is dense in a way you rarely see on TV.
I was already feeling like LMS had moved into a likely BP slot. But watching it on TV, even more so. I think that a lot of people who were so-so-on it will see it over the holidays with their families who want to watch it and find themselves surprised by being more engaged.

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Gurus o Gold – 12 Wks From Noms

Susan Wloszczyna’s entry got caught in the e-mail and Scott Bowles turns out to be on vacation. So, this week’s GoG is now complete. The effect of The Woz’s entries were mostly felt in moving Ms Farminga up. And between Susan and a missed #5 entry from Glenn Whipp, Brad Pitt leaps over Jack Nicholson and into 2nd place this week.
Here are the final pulls. The set that was up earlier can be found after the jump.
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The Rest Of The Charts

Read the full article »

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I'll Show You The Life Of The Penquin!!!

I don

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Print Hits, April – Sept 2006

Just thought this was a little interesting.
The three national newspapers are the only 1 million circ papers left.
The Houston Chronicle is the only smaller market paper in the Top 10. (See Joe Leydon smile.)
For all the talk about Page Six’s “scandal” dragging down the paper, The NY Post had the biggest growth amongst the Top 25 papers.
Separately, the Newspaper Association of America also reported that, according to its analysis of online traffic data from Nielsen/NetRatings, nearly 57 million people visited newspaper Web sites in the third quarter, up 24 percent from the same period a year ago. That figure made up 37 percent of all Internet users.”
And our Hometown Fishwrap had the biggest drop in circulation, falling 8%, which represents more than 50,000 fewer papers sold each day.
USA Today: 2,269,509, (-1.3%)
The Wall Street Journal: 2,043, 235, (-1.9%)
The New York Times: 1,086,798, (-3.5%)
Los Angeles Times: 775,766, (-8.0%)
The New York Post: 704,011, +5.3%
Daily News, New York: 693,382, +1.0%
The Washington Post: 656,297, (-3.3%)
Chicago Tribune: 576,132, (-1.7%)
Houston Chronicle: 508,097, (-3.6%)
Newsday: 413,579, (-4.9%)

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Let's Play… FIND THE REVIEW!!!

David Denby is the calmer, better movie educated, veteran half of the New Yorker critics team. Unlike Anthony Lane, he is not so much in love with the sound of his own typing as he is with movies. So I expect well considered, clean stuff from him when I read his work, whether I agree with it or not.
But this week has had some really surprising moments in criticism and I consider them instructive about criticism, more than about the movies involved. I will apologize if any of you feel it is piling on in any way.
Babel has brought out absolute abusiveness in some of the most classical critics, including the previously blogged Andy Klein…
(EDIT, 3:10p Sunday - STOP THE INTERNET PRESSES!!!! I screwed up royally. After years of assuming Joe Morgenstern is the review I am reading when I open the Wall Street Journal to a big movie review, I didn’t look at the review byline when reading the paper on Friday. The WSJ’s Babel review is from JOANNE KAUFMAN, not Joe Morgenstern… my apologies to all involved. As I wrote, “Coming from a gentleman and a gentle man as Joe M, that review is a closed fist to the jaw than a slap across the face. I still hardly believe I read it.” It was neither.)
Denby is more moderate on Babel and expresses similar concerns to my own

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Sunday Estimates by Klady

Not much more to say about Saw III

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Friday Estimates

Saw III is off to a faster start that either of the first two films, sight unseen. Basically, on this series, Lionsgate does what is otherwise the skill set of Screen Gems or Dimension. Solid, simple, sell to one audience and one audience only.
The Prestige has a shot at $45 million or $50 million, which is no disaster, but no thrill either. Look for foreign to be stronger. And Flags of Our Fathers may not get to $30 million, which is an indicator of audience word-of-mouth, regardless of whether some major critics have embraced the film.
As we work through the awards season, critics are far overvalued as are groups like HFPA. The former only makes major waves when throwing a light as a group on a specific film or performance. The latter is in the game of guessing what the Academy voters will think. Neither answers the specific question… what will 6000 middle-aged and elderly Academy voters love?
That is why Babel is not nearly as muscular a player as some would have you believe and Flags is in trouble. It is also why Munich got nominated last year, in spite of scathing attacks from some angry critics. (That one should also remind us that if our sense of the whys changes depending on how we personally feel about a film, we will endup being wrong more often than not.) Reverse Analysis is significant, in that an understanding of history does matter. But as a predictor, it is pretty iffy.
And the danger of being perceived as underperforming at the box office is the good reason why smaller quality films wait for December. If a film like The Hours goes out in December in limited release and doesn’t soar, it is seen as needing space. If a Ron Howard film opens in summer and doesn’t hit $100 million, it is seen as a failure. And The Academy does not, with a few exceptions, vote to nominate failures.
Open Season will quietly become Sony Animation

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Another Travel Day…

Here is some box office…
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And 20 Weeks, 18 Weeks To Go
Can you smell it? Come on, take a good, deep whiff

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Brutalizing Babel

Andy Klein of LA City Beat kinda knocks the crap out of “Alejandro Guilermo.” as he calls the director/writer duo responsible for Babel.
The attack is a rather harsh for my tastes. I think there is genius there, but it is precocious and a bit of restraint would go a long way. But still…
Andy’s way of going at them was too funny and razorsharp not to note. Here is Andy’s opener.
Welcome to the Make Your Own Alejandro Gonz

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Slate Goes Luddite

I got the impression from his work that Michel Agger was a young man, if not in body than in mind. But a quick read of his response to Steven Levy

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Taking Sides?

Interesting that Time.com (who knows if it will be in print?) decided to run a Jeff Ressner piece mocking Paramount

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Lunch With David: Return To Ammo

According to a (stupid) study, sequels with numbers don’t perform as well as sequels with names, so…
The Lunch

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Semantics? Apparently More

After running my Flags of our Father review, I got a lot of letters with a similar issue to the following

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The Hot Blog

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé