MCN Originals Archive for September, 2013

The Weekend Report

Cloudy with a Chance of Meatballs 2 supped on an estimated opening salvo of $34.4 million to easily take top spot with weekend moviegoers. Three other films debuted nationally and, like Meatballs, none had quite the spice that had been anticipated. Following last week’s teaser opening, Formula 1 racing saga Rush slotted third with $10.3 million while urban romantic comedy Baggage Claim grossed $9.4 million. The naughty but nice Don Jon trailed with $9 million.

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Friday Estimates

Cloudy With A Chance Of Meatballs 2 opens about 12% better than the first of the fledgling series, but the key number for the film, with kids back to school, will be Saturday’s. Meanwhile, the two sex romp comedies—one from New Jersey and one traveling from Los Angeles— romanced the same estimated opening number… which suggests that Don Jon will likely do slightly better over the weekend run. But it also suggests that both films probably would have been better off not opening against one another, even if all answers to opening weekend are not black-and-white.

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The DVD Wrapup

The East, Gimme the Loot, Iron Man, Room 237, Augustine, Rosselli/Bergman, Fill the Void, In the House, Foyle’s War… and more.

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Wilmington on DVD: Iron Man Three

In Iron Man Three—capstone of the trilogy of films in which Robert Downey, Jr. plays brainy CEO Tony Stark a.k.a. the robo-suited super-hero Iron ManDowney spends far more time out of his Iron Man suit than in it. But that’s okay.

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The Weekend Report

It was definitely a case of take all Prisoners as the gripping child abduction drama ascended to the top in its debut with an estimated $21.2 million. The weekend’s other incoming wide release saw dancing but no stars as Battle of the Year grossed $4.8 million to slot fifth overall. Exclusive newcomers also provided a couple of potent entries starting with the adult rom-com Enough Said that sparked $240,000 from four screens. Just a lap behind, Formula 1 nail-biter Rush revved up $198,000 from five tracks.

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Friday Estimates

Jackman & Gyllenhaal & WB classic thriller marketing lead to a solid opening for Prisoners. How big the movie ends up being will depend on how much audiences enjoy the creamy metaphoric filling once they’ve bitten in and word-of-mouth begins.

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The Torontonian Reviews GRAVITY

Gravity is really, really cool.

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Pride’s Friday 5, 20 September 2013

Prisoners, After Tiller, Out 1: Noli me Tangere, Simon Killer and Gimme the Loot.

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Gurus o’ Gold Post-Venice/Telluride/Toronto

We tried something a little different this week. First, we picked our Top 8, without ranking them. Then, we picked out Next 7, also without ranking them. The idea was to create some degree of hierarchy without beating the rankings to death this early in the award season.

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The Weekend Report

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The Torontonian Reviews UNDER THE SKIN

Glazer’s decision to light the film with heavy chiaroscuro makes getting lost in the ambiguity sexy and mysterious, and it’s rare that you see the fullness of a character’s face. There is almost always something obscuring the skin or hiding the face of both prey and predator, which makes the shadows and confusion a bewitching result.

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Wilmington on DVDs: World War Z; The Bling Ring

Pitt doesn’t usually take the Tom Cruise stud-hero route; he’s done a lot of interesting projects. And though he’s wearing a strange hairdo for this type of role, he makes for a likable hero, if not a plausibly written one.

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Friday Box Office Estimates

Insidious: Chapter 2 goes “boo!” with $20.1 million, while The Family serves up $5.3 million. And The Butler‘s only $3.9 million from serving up a cool $100 mil.

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The Torontonian Reviews PRISONERS

An unspoiled viewing of the film is so completely engrossing that every little clue or tidbit rattles and teases us. But the best mystery films are often those that withstand repeated viewings, for we watch these movies again and again to revisit how expertly handled each revelation is and how the characters react to them. Prisoners is this kind of mystery movie.

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The DVD Wrapup

War Witch, Star Trek, Friday 13th, Love Is All You Need, Strong Language, Ruby, American Hippie in Israel… and so much more.

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The Weekend Report

To no great surprise, the debut of Riddick shot to the top of the weekend charts with an estimated $18.6 million. It was the sole new national release in what is traditionally one of the lowest attended movie periods of the year. There was a tidal wave of exclusive openings but only doc portrait Salingerposted big numbers of $89,200 with a mere four carbons.

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Friday Box Office Estimates

Riddick‘s got kick; The Butler stands ready to serve; The Millers have no intention of leaving town.

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Wilmington on Movies: The World’s End

I’ve let The World’s End go unremarked—so far—even though this cheerfully outrageous new comedy by Edgar Wright, Simon Pegg and Nick Frost (all of Shaun of the Dead) is one of my favorite movies so far this year—and judging by the reviews, the favorite of lots of other critics (and audiences) too.

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The Torontonian Reviews PARKLAND

Their stories would likely be far more interesting in a written format, like Vincent Bugliosi’s “Four Days in November,” the book from which the film is adapted.

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Wilmington on DVDs: The Winged Serpent (Q), The Iceman, Now You See Me

A sleazy little semi-classic from the more daffily glorious times when horror movies had less gore, smaller budgets and more personality, The Winged Serpent (or Q, as it was called when I caught it in New York City on its first release) is a delightfully cheesy monster movie from Larry Cohen in his heyday.

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MCN Originals

Quote Unquotesee all »

“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