The Weekend Report Archive for April, 2009

Play Stalk Man Woman

Audiences opted for the perverse office politics of Obsessed with the film bowing to an estimated $28.8 million. The frame’s other national debuts included the hard kicking actioner Fighting with $11.3 million in third position and, close behind, the potent drama The Soloist with $9.7 million. Also new was the eco-documentary Earth that bowed on…

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17 Again … and Again … and Again

The body switch comedy 17 Again trumped the competition with an estimated $24.2 million to lead weekend movie-going options. Another freshman, the political-thriller State of Play, ranked second with a $14 million debut and the high energy sequel Crank: High Voltage slotted sixth on a gross of $6.7 million. Year-to-year box office was once again…

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Hannalujah!

The great Easter egg hunt delivered record breaking numbers with Hannah Montana: The Movieleading the charge with an estimated $34.3 million. The holiday session also included two other national debuts. Anti-Paul Blart: Mall Cop Observe and Report ranked fourth overall with a middling $11.1 million while the live-action manga adaptation Dragonball: Evolution eked out $4.6…

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Pop Goes the Diesel

Fast & Furious lived up to its moniker, speeding past the competition and re-writing the record books with an estimated $72.4 million debut. In another expansive frame the only other national debut — the droll retro-comedy Adventureland — didn’t provide much in counter-programming with a $5.7 million tally. The session was also rife with limited…

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott