The Weekend Report Archive for May, 2010

True Grit: The Sands of Tommy

May 31, 2010 The pre-ordained juggernaut of Sex and the City 2 was naut. Smiling ogre the Memorial holiday weekend was Shrek Forever After with an estimated $55.6 million. The weekend’s incoming box office behemoths — Sex 2 and Prince of Persia: The Sands of Time — duked it out for the Miss Congeniality spot…

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Star Shrek: The Wrath of Con

May 23, 2010 Shrek Forever After held sway ogre the weekend with an estimated debut of $72.5 million. The session’s other wide opener MacGruber wound up a causality of ware with a humorless $4.1 million bow. The Bollywood hybrid Kites touched a toe in the water with 208 playdates and its $1 million box office…

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There Goes the Neighbor, Hood

May 16, 2010 Iron Man 2 took a 60% tumble but retained the top spot at the weekend box office with an estimated $51.9 million. A trio of new national releases followed in its wake, most noticeably the new millennium Robin Hood, which was pretty close to the bullseye with $37 million. A pair of…

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Iron and Steal

May 9, 2010 Iron Man 2 signaled the start of the summer season with a blockbuster-like debut gross estimated at $134.1 million. With the comic book sequel fusing more than 70% of the marketplace, holdovers generally experienced 50% plus erosions and other debuts were confined to the niches. The non-fiction Babies bowed at 534 theaters…

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Elm Oakay

May 2 , 2010 The resurrection of Mr. Krueger in A Nightmare on Elm Street scared up an estimated $32.1 million to claim weekend bragging rights in an otherwise soft movie viewing session. The frame’s other national debut, the unintentionally horrifying Furry Vengeance, ranked fifth in the lineup with $6.5 million. Niche freshmen including Bollywood…

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Quote Unquotesee all »

“Almodóvar–the first name is almost unnecessary–is a genius, is a flower, is a guiding light: the last, best son of Buñuel and so much more than that. His screenplays, which he directs with passion and fine care, have taught us about the exteriors of his native land and the interiors of our own hearts. From the early, manic experimental Super-8 work to the breakthrough Women on the Verge of a Nervous Breakdown, his titles are as evocative as most people’s screenplays. Yet for all their antic energy, Almodóvar’s films are deeply spiritual: watching his disturbing, mysterious, heart-rending Talk to Her is to understand, perhaps for the first time, the full meaning of grace. An Almodóvar screenplay is a running leap off a Gaudi balcony, it flips, soars, ascends, careens, tumbles, falls – always landing, astonishingly and astonished, on its feet.”
~ Howard A. Rodman, Announcing Almodóvar’s Jean Renoir Award

“I got a feeling I am going to win in the long run, but I want to be part of the zeitgeist, too. I want to support young girls who are in their 20s now and tell them: You’re not just imagining things. It’s tough. Everything that a guy says once, you have to say five times. Girls now are also faced with different problems. I’ve been guilty of one thing: After being the only girl in bands for 10 years, I learned—the hard way—that if I was going to get my ideas through, I was going to have to pretend that they—men—had the ideas. I became really good at this and I don’t even notice it myself. I don’t really have an ego. I’m not that bothered. I just want the whole thing to be good. And I’m not saying one bad thing about the guys who were with me in the bands, because they’re all amazing and creative, and they’re doing incredible things now. But I come from a generation where that was the only way to get things done. So I have to play stupid and just do everything with five times the amount of energy, and then it will come through.”
~ Björk to Jessica Hopper at Pitchfork