The Weekend Report Archive for December, 2008

Christmas Caroling with Marley

The other Marley — Marley and Me — proved no Scrooge at the box office with an estimated $51.5 million gross that barked to the top of the box office charts for the four-day seasonal span. In what was technically a box office record-breaking frame, four other films bowed on Christmas day to primarily upbeat…

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The Big Chill

The battle of the stars pitted debuts of Jim Carrey in the comedic Yes Man against Will Smith in the three-Kleenex yarn Seven Pounds with laughter prevailing. Yes Man emerged from the weekend with an estimated $17.9 million to top the session charts, with Smith’s weighty affair ranking second on box office of $15.2 million….

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The Day the Box Office Stood Still

A sturdy debut estimated at $31.4 million for The Day the Earth Stood Still wasn’t enough to stave an overall box office downturn as 2008 creeps toward closure. The session also featured an okay bow of $3.7 million for the seasonal Nothing Like the Holidays, which ranked sixth in the lineup. However, it was no…

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Silent Night, Silent Matinee

While the first weekend of December is traditionally not quite the lowest grossing weekend of the year … it is pretty close to the bottom. This year is no exception as distributors continued the tradition of releasing movies with limited potency as evidenced by the opening of Punisher: War Zone, which ranked eighth in the…

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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