The Weekend Report Archive for March, 2009

Monster Smash

The debut of Monsters vs. Aliens scared up an estimated $57.3 million to handily take control of weekend movie viewing.The Haunting in Connecticut, a more traditional chiller, also bowed to an impressive $23.2 million and the two top sellers accounted for approximately 55% of the frame’s admissions. The session also saw a rather flaccid bow…

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Knowing … and Not Knowing

The science-fiction anxiety raiser Knowing led the weekend box office chart with an estimated $24.1 million. In a session where a trio of national releases was expected to be closely bunched, the separations were noticeable. The romantic comedy I Love You, Man debuted in second spot with $17.6 million and the tongue-in-cheek thriller Duplicity took…

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Witch Way to the Front

Race to Witch Mountain ambled to the top of weekend ticket sales with an estimated $24.8 million. The frame’s other national debuts also showed predictable potency. The horror remake Last House on the Left ranked third with a $14.6 million gross and the twenty-something comedy Miss March mustered $2.3 million. Additionally there were a slew…

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A Watchmen Pot Boils

Propelled by the debut of Watchmen, domestic box office rose by 12% from 2008. The adaptation of the acclaimed graphic novel opened to an estimated $56.7 million and accounted for roughly 50% of all movie ticket sales on its opening weekend. The Watchmen saga – at least in regard to its tortured journey to the…

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Jonas and the Wail

Despite a 60% drop in business and anticipated fierce competition, Madea Goes to Jail retained its position as top ticket seller with an estimated $16.4 million gross. The presumed champ – Jonas Brothers: The 3D Concert Experience – got off to a fast start but quickly faltered and finished second overall with a $12.6 million…

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“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

To me, Hunter S. Thompson was a hero. His early books were great, but in many ways, his life and career post–Fear and Loathing on the Campaign Trail is a cautionary tale for authors. People expected him to be high and drunk all the time and play that persona, and he stuck with that to the end, and I don’t think it was good for him. I always sort of feel mixed emotions when I hear that people went and hung out with Hunter and how great it was to get high with Hunter. The fact is the guy was having difficulty doing any sustained writing at all for years probably because so many quote, unquote, “friends” wanted to get high with him … There was a badly disappointed romantic there. I mean, that great line, “This is where the wave broke, the tide rolled back … ” This was a guy that was hurt and disappointed and very bitter about things, and it made his writing beautiful, and also with that came a lot of pain.
~ Anthony Bourdain