MCN Originals Archive for May, 2017

Friday Box Office Estimates

56, 43, 35, 23. See a pattern here?

Those are the opening days of the first four Pirates movies. The first film had a Wednesday open and a $14m first Friday.

Domestically, Pirates is over at this scale, what with a $40 million star in the lead. Internationally, Disney is hoping not to care what happened domestically.

Paramount had an ugly Baywatch launch.

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Cannes Review: KILLING OF A SACRED DEER

Humanity is exactly what’s on the chopping block in a Yorgos Lanthimos film.

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Review: Baywatch

I was so looking forward to some good, dumb summer fun.

And Baywatch has its moments.

But it is taken down by an undertow of overthinking, over-raunching, and generally a complete miss of what made this series so absurdly popular for so long.

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Cannes Reviews: REDOUBTABLE, 120 BPM

Beyond outlining just how much of an asshole Hazanavicius’ Godard is—including a stupid running joke that seems to suggest the man derives his snobbish power from his sunglasses, which he repeatedly breaks throughout the film—Redoubtable is little more than a series of regrettable decisions that began the moment Hazanavicius started his adaptation.

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The Weekend Report

Alien: Covenant edged ahead of Guardians of the Galaxy Vol. 2 with an estimated $36.1 million to make off with a wobbling weekend box office crown. Teen romantic drama Everything, Everything won a distant third with $11.8 million and the latest episode of the Wimpy Kid franchise, the appropriately-entitled The Long Haul, bowed with a limpy $7.1 million.

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Cannes Review: THE SQUARE

The Square is an equilateral triangle—a film with three sharp, pointed edges and a very long ending that’s too rigid for it to turn a corner and assume its final shape. But as the follow-up to a film about the social contract, as well and the bystander effect, Östlund has made something hilarious, frustrating and very clever.

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Friday Box Office Estimates

Alien: Covenant comes out of the gates a little slower than Prometheus… probably because of the reception for Prometheus. This more conventional Alien movie is paying the price. But what Fox needs is for audiences to like it and for the numbers to accelerate, suggesting that there may be a reason to make more prequels. International tell the story here. Everything, Everything has a nice open for the rare WB cheapie title. Fox’s franchise hits the wall with a cast change. Or maybe it’s just a victim of Fox opening three movies in eight days?

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Cannes Reviews: Okja, Jupiter’s Moon

The yelling started as soon as Okja’s Netflix presentation card appeared, muddying the matter more. This attitude fuels the ongoing debate on the Croisette: Can Netflix films win Palmes d’Or? Should they? The argument being Cannes is a festival where cinema is sacred—that films should be seen on big screens, not on small ones

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The DVD Wrapup: Space Between Us, xXx, Starlight, Operation Mekong, Serial Mom, Brain Damage and more

There are exteriors in the largely Mars-based The Space Between Us that look as if they might have been ported over from The Martian. Its lack of success commercially and critically, however, probably can be traced to issues unrelated to space fatigue. Absent any of the bells and whistles that helped launch other recent sci-fi extravaganzas — 3D, IMAX, 3D IMAX — even The Martian faced an uphill climb. Neither were its chances enhanced by three release-date changes and a marketing campaign hobbled by mixed messages.

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Cannes Review: Loveless, Wonderstruck

I’d take negativity over brimming positivity most any day, especially in the face of Todd Haynes’ young-adult drama Wonderstruck, the second film in competition.

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The Weekend Report

Guardians of the Galaxy Vol. 2 remained dominant in the marketplace with an estimated second weekend of $63.3 million. In the distance were the session’s two incoming national releases. Mother’s Day comedy adventure Snatched bowed to $17.4 million while King Arthur: Legend of the Sword put the morte in the fabled monarch with a $14.8 million debut.

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Friday Box Office Estimates

The Guardians of The Galaxy are heroes… but this week they are beating up on the weak. Solid second weekend, but hardly heroic. With Arthur, WB must have been hoping to pull off another Tarzan$39m opening, in spite of media lining up to kill it in the crib)… but alas, no. As for Snatched, well… it’s no Mike and Dave Need Wedding Dates. In an exclusive run (four screens), Paris Can Wait will be over $10k per screen.

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The DVD Wrapup: Fifty Shades Darker, Things to Come, Chef’s Wife, Alena, Kiju Yoshida, Streets of Fire, Beaches and more

In less time than it takes for most folks to decide between fake butter and plain popcorn, they reconnect and he’s agreed to Anastasia’s list of demands. In another blink of the eye, she’s peeling off her britches in elevators and restaurants, and submitting to the tortuous pleasure of inserting beads into her hoohah for a night out on the town.

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Review: King Arthur: The Lege…

Ritchie’s twist on King Arthur isn’t very complex. Take the original and add The Lion King. Add some Harry Potter effects (not as well done). Add quick editing that makes parts of this film dangerous for ticket buyers with epilepsy. And voila! You’ve got a crap movie.

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Review: Snatched (minimal spoilers)

Snatched is the movie that people feared Trainwreck might be. In Amy Schumer’s first feature, we were fortunate to get a coherent, quirky narrative with charming sidebars. Not so lucky here.

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The Weekend Report

Guardians of the Galaxy Vol. 2, the only national opener, commanded roughly 74% of domestic moviegoing with an estimated $144.4 million haul. Guardians of the Galaxy’s set off a week earlier internationally and grossed $106 million from 37 territories. Its second international weekend added 18 markets and an additional $124 million box office. The foreign charge was led by a $48 million bow in China, with South Korea and Russia adding $13.3 million and $11.6 million, respectively. The only $10k-per-screen tallies aside from Guardians was A24’s The Lovers, which did $16,000 on four and the restoration of Stalker at Lincoln Center, grossing over $18,000 on a single journey.

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Review-ish: Alien Covenant (spoiler-free)

The third act of a movie is a magical thing. A story can drag through two acts, but if that third act really pops and the audience leaves the theater excited, the not-so-exciting journey to get to the end is forgotten and the buzz remains. But the reverse is also true. This phenomenon is as true for most film critics as it is for “the great unwashed.”

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Friday Box Office Estimates

Today is a half-full/half-empty day in box office analysis. Guardians 2‘s opening day is $18 million higher that the original (in August 2014). It will be the weakest Marvel-made MCU opening of the summer since The Avengers, which was the first of four summer openers in the last five years. But it’s better than the fifth summer opener in the last five years, Sony’s Amazing Spider-Man 2, which opened softly enough ($91m) to get Sony to change its relationship with Marvel on the franchise. Then again, it may open softer than Spider-Man 3 did a decade ago. It is a win, any way you slice it… but context is sticky.

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The DVD Wrapup: Salesman, Gold, Red Turtle, Rings, Tunnel, Age of Shadows, Saving Banksy, Saturday Night Fever and more

It can be argued, I suppose, that Donald Trump’s decision to ban citizens of Iran and six other predominately Muslim countries gave Asghar Farhadi’s The Salesman an edge in the voting for this year’s Best Foreign Language Film Oscar.

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The Gronvall Report: Oren Moverman On THE DINNER

“Yes, this is definitely a modern story. The ending is unclear, and that is where we are today. Many of us in our complicated world are lucky to be regarded as comfortable, but there’s a cost: just look at us. There is no catharsis.”

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MCN Originals

Quote Unquotesee all »

Feature films are suffering a kind of bad time right now, in my opinion, because the feature films that play in theaters are blockbusters. That seems to fill the theaters, but the art-house cinema is gone. If I made a feature film, it might play in L.A. and New York, a couple of other places, for a week in a little part of a cineplex, and then it would go who knows where. I built this to be on the big screen. It will be on a smaller screen, but it’s built for the big screen. You want a feature film to play on a big screen with big sound, and utilize all the best technology to make a world. It’s really tough after all that work to not get it in the theater. So I say that cable television is a new art house, and it’s good that it’s here.”
~ David Lynch

“The purpose of film isn’t to present the kindness of the world.”
~ Isabelle Huppert