The Weekend Report Archive for June, 2013

The Weekend Report

A couple of new films enlivened weekend moviegoing, but it was moola-moola at the top for the second frame of Monsters University, with an estimated $46.1 million. That left the bridesmaid slot to debuting The Heat with $39.3 million and position four for incoming White House Down with $25.3 million.

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The Weekend Report

Monsters University picked up considerable steam in the days prior to its release and breezed past World War Z in industry tracking. When the dust settled, MU bowed to an estimated $81.3 million and WWZ packed a wallop of $66.2 million. Together they propelled weekend business to another industry record for the month of June.

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The Weekend Report

Man of Steel reset the record book with an opening weekend estimated at $111.6 million. The session’s sole brave national counter-programmer debut was apocalyptic comedy This is the End, which Raptured second place with a solid $20.2 million. Bright were a couple of exclusive newcomers. Nonfiction yarn of session singers 20 Feet from Stardom opened to $51,200 at three spotlights and the youthful felons of The Bling Ring made off with a big haul of $197,000 from just five crime scenes.

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The Weekend Report

Well, no one saw that coming … or did they? It was the scrappy little sci-fi thriller The Purge that emURGEd as the weekend movie favorite with an estimated debut of $36.3 million. Meanwhile, its presumed competition The Internship mustered less than 50% of its opening to rank fourth overall with $18.2 million.

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The Weekend Report

Fast & Furious 6 was dominant in second gear as it sped away to an estimated $34.5 million. That propelled a couple of newcomers to a tight race for second place with the unexpected winner the offbeat caper tale Now You See Me prestidigitating a gross of $27.9 million. A disappointing step behind with $27.2 million was the futuristic survival lesson After Earth.

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The Weekend Report

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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