The Weekend Report Archive for February, 2005

Born to be Mad…

Though tracking was upbeat, no one expected Diary of a Mad Black Woman to top weekend movie going with an estimated $21.2 million gross. In a very close competition with the third weekend of Hitch, the independently produced social comedy starring and conceived by Tyler Perry appeared to have the edge and certainly ranks immediately…

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Date From Hell

The anticipation was enormous and the results impressive but the final estimated tally of $35.1 million for the supernatural thriller Constantine still lagged slightly behind Hitch, which took weekend box office honors with slightly more than $37 million. Modest results for several other debuts during the four-day Presidents holiday frame pushed business to about $160…

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Hitch & Run!

Where there’s a Will, there’s a Hit (ch). Unabashedly playing up actor Will Smith‘s popularity provided Hitch with a sensational debut estimated at $45.6 million and pegged as the biggest opening gross for a romantic comedy. Rebounding from the traditional Super Bowl box office dip, weekend movie going jumped 22% from seven days earlier and…

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Scare Tactics

Do I hear a franchise? Boogeyman provided the shock and awe in movie theaters this past weekend as it debuted to an estimated $20.2 million. While exhibitors and distributors were girding for the annual hard hit of Super Bowl Sunday, business was better than expected overall and also featured a very good bow for The…

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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.”
~ Eric Allen Hatch