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The Weekend Report Archive for June, 2009

Transformers: Triumph of the Risen

The tracking was great … just not this seemingly boffo. Transformers: Revenge of the Fallen smashed the competition with an estimated weekend gross of $110.8 million and a five-day near record gross of $200 million. That left the frame’s other wide release — the decidedly femme-centric, weepy My Sister’s Keeper — picking up scraps of…

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Wedding Bell Green

The Proposal was an offer the audience couldn’t refuse as the romantic comedy romped to an estimated $34.4 million debut to gain weekend bragging rights. The frame’s other national freshman — the caveman comedy Year One — grunted $20.1 million to finish fourth overall. New titles in limited or regional release had a few bright…

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Sub-way Stories

Hangover and Up once again dominated weekend ticket sales with respective grosses of $33.1 million and $30.7 million and that put the kibosh on new releases. The highly anticipated The Taking of Pelham 123 pulled into third spot with a just passable $24.6 million gross while the $5.6 million box office for Imagine That was…

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Land of the Loss

Belmont be damned … it was a photo-finish at the weekend box office with initial estimates giving the animated adventure Up a slight edge on the debut of the gonzo comedy The Hangover. First blush pegs Up with $44.5 million for a $200k lead on the new “boys’ night out” misadventure. The weekend’s other major…

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Quote Unquotesee all »

“I don’t believe in the Nietzschean notion that what doesn’t destroy you makes you stronger. You see these soldiers come back with PTSD; they’ve been to war and seen death and experienced these existential crises one after the other. There are traumas in life that weaken us for the future. And that’s what’s happened to me. The various slings and arrows of life have not strengthened me. I think I’m weaker. I think there are things I couldn’t take now that I would have been able to take when I was younger.”
~ Woody Allen

“Hitchcock films the story with a wide-eyed, astonished, fascinated, and disturbed camera stare that seems to shudder and tremble every time Hedren is onscreen. Even the director’s cameo—in which he watches Hedren walking down a hotel corridor and then turns back to look at the camera, shamefacedly caught in his own leer—suggests his self-aware sense of visual carnality. The images offer an extraordinary swing between blasts of heat and an eerie chill, sometimes bringing the two together. Even the film’s exterior locations have a fluorescent buzz that captures an ambient sense of derangement.”
~ Richard Brody on Marnie

 

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