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…

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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…

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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…

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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…

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima