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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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“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