The Weekend Report Archive for March, 2005

Rabbit Punch

There was no second coming despite the preponderance of sequels on the marquee during the Easter holiday frame. The debuts of Guess Who and Miss Congeniality 2: Armed and Fabulous topped the box office but without the box office dynamism of such recent entries as Robots, Ring Two or The Pacifier. The result was a…

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Call Waiting

You might say it was a ring and a miss at the weekend box office as the horror sequel The Ring Two led the field with an estimated $36.4 million while the other national debut, Ice Princess, was chillin’ in fifth position with $6.7 million. The frame also had a spectacular exclusive run for Woody…

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Mechanical Behavior

There was no need for Fox to retrofit its animation unit as Robots left the competition in the rust. The family friendly movie grossed an estimated $35.5 million while second place went to The Pacifier at $17.7 million. The frame also saw an OK opening for the Bruce Willis thriller Hostage and a number of…

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Be … Calm

The leading films in the marketplace expressed soothing sentiments but the anticipation was for a heated competition between two debuting titles. And while both films opened well, it was unquestionably the family friendly The Pacifier that prevailed over the return of Chili Palmer in Be Cool. The Pacifier’s first weekend was estimated at $29.6 million…

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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