The Weekend Report Archive for August, 2008

Slow and Sure

A quartet of new films failed to topple Tropic Thunder from its seat at the top of the heap of weekend movie going. The psycho-comedy edged out freshman entries The House Bunny and Death Race with an estimated $16.1 million. Bunny ranked second with $14.8 million and the bronze went to the road rage action…

Read the full article »

Weather Report

The Hollywood parody Tropical Thunder took top box office honors with weekend movie goers providing an estimated $25.6 million for its debut. The session also saw a softish $15.3 million bow for the animated Star Wars: The Clone Warsthat ranked third and a more predictable $11.1 million fourth place finish for the thriller Mirrors. The session also a…

Read the full article »

On the Dole

The Dark Knight remained top dog in the marketplace with an estimated $25.8 million weekend gross. However, the competition was torrid as the bow of stoner comedy Pineapple Express nipped at its cape with an opening weekend salvo of $22.2 million. Also bowing nationally was the female bonding sequel Sisterhood of the Traveling Pants 2…

Read the full article »

Mummy Dearest

Pundits predicted that The Mummy: Tomb of the Dragon Emperor would unseat The Dark Knight as the top ticket seller in the domestic market place this weekend. Tracking studies suggested the third edition of The Mummy franchise would open to between $45 million and $50 million and that the ebony Bat would once again experience…

Read the full article »

The Weekend Report

movieman on: The Weekend Report

Eric N on: Weekend Report

Judi Levine on: The Weekend Report

Steph on: The Weekend Report

laura rue on: The Weekend Report

Sam on: The Weekend Report

Peter on: The Weekend Report

Isah Adomoc on: The Weekend Report

K. Bowen on: The Weekend Report

charlesmayaki on: The Weekend Report

Quote Unquotesee all »

“When books become a thing, they can no longer be fine.

“Literary people get mad at Knausgård the same way they get mad at Jonathan Franzen, a writer who, if I’m being honest, might be fine. I’m rarely honest about Jonathan Franzen. He’s an extremely annoying manI have only read bits and pieces of his novels, and while I’ve stopped reading many novels even though they were pretty good or great, I have always stopped reading Jonathan Franzen’s novels because I thought they were aggressively boring and dumb and smug. But why do I think this? I didn’t read him when he was a new interesting writer who wrote a couple of weird books and then hit it big with ‘The Corrections,’ a moment in which I might have picked him up with curiosity and read with an open mind; I only noticed him once, after David Foster Wallace had died, he became the heir apparent for the Great American Novelist position, once he had had that thing with Oprah and started giving interviews in which he said all manner of dumb shit; I only noticed him well after I had been told he was An Important Writer.

“So I can’t and shouldn’t pretend that I am unmoved by the lazily-satisfied gentle arrogance he projects or when he is given license to project it by the has-the-whole-world-gone-crazy development of him being constantly crowned and re-crowned as Is He The Great American Writer. What I really object to is this, and if there’s anything to his writing beyond it, I can’t see it and can’t be bothered. Others read him and tell me he’s actually a good writer—people whose critical instincts I have learned to respect—so I feel sure that he’s probably a perfectly fine, that his books are fine, and that probably even his stupid goddamned bird essays are probably also fine.

“But it’s too late. He has become a thing; he can’t be fine.”
~ Aaron Bady

“You know how in postproduction you are supposed to color-correct the picture so everything is smooth and even? Jean-Luc wants the opposite. He wants the rupture. Color and then black and white, or different intensities of color. Or how in this film, sometimes you see the ratio of the frame change after the image begins. That happens when he records from his TV onto his old DVCAM analog machine, which is so old we can’t even find parts when it needs to be repaired. The TV takes time to recognize and adjust to the format on the DVD or the Blu-ray. Whether it’s 1:33 or 1:85. And one of the TVs he uses is slower than the other. He wants to keep all that. I could correct it, but he doesn’t want me to. See, here’s an image from War and Peace. He did the overlays of color—red, white, and blue—using an old analog video effects machine. That’s why you have the blur. When I tried to redo it in digital, I couldn’t. The edges were too sharp. And why the image jitters—I don’t know how he did that. Playing with the cable maybe. Handmade. He wants to see that. It’s a gift from his old machine.”
~ Fabrice Aragno