MCN Originals Archive for May, 2018

The Weekend Report

Deadpool 2 swam to the top of weekend viewing with an estimated $124.9 million. The session’s other national newcomers targeted those averse to snark. The golden girls of Book Club charted third with $12.4 million while the kiddie mix of animation and live-action in Show Dogs grossed $6 million.

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Friday Box Office Estimates

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BOOM FOR REAL: Sara Driver On A Moment Whose Moment Has Come

“Everybody was going to see bands, going to see peoples’ shows. We were all in the same area… I think Luc [Sante in the film] describes him as “impish,” and, yeah, sort of everywhere.”

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The DVD Wrapup: Black Panther, Forgiven, Monkey King, Sweet Escape, Black Venus, It’s Alive and more

What were Stan Lee and Jack Kirby smoking when they named their new superhero after the militant organization founded by Bobby Seale and Huey P. Newton? Or… what were Seale and Newton smoking when they named the BPP after a comic-book superhero?

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The Weekend Report

Avengers: Infinity War won its third weekend with an estimated $63.2 million. The back-to-school hijinx of Life of the Party was in second spot with $18.3 million followed by the ferocious matriarch of Breaking In with $16.5 million.

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Friday Box Office Estimates

Avengers gets the third weekend with an easy win, as Disney plotted when moving the film back into April to launch the summer a week early. And next week, they will have a Star Wars at #1 and Avengers at #2. It’s good to be the Mouse. Double counterprogramming keep two films from launching to $20m+, but solid sturdy launches that could lead to decent totals if word of mouth is solid for both or either of the films. On the indie side, $10k+ weekend launches for Sony Classics’ The Seagull, Roadside’s Beast, and Magnolia’s Boom For Real.

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The DVD Wrapup: La Belle Noiseuse, 50 Shades Freed, 4K Titles, Paradox, Manifesto, Dear White People, Butterflies and more

“Take My Word for It” might be a better title for this column, especially as it applies to movies that went to straight-to-video or streaming or are made by filmmakers yet to establish reputations. Jacques Rivette’s 1991 masterpiece, La Belle Noiseuse, doesn’t fit those categories, but, with its four-hour length and ready availability of an inferior 125-minute cut, La Belle Noiseuse: Divertimento, Cohen Media’s upgraded Blu-ray may benefit from any endorsement. La Belle Noiseuse (The Beautiful Troublemaker) won the Grand Prize of the Jury at Cannes and was nominated for a Palme d’Or. Roger Ebert called it “the best film I have ever seen about the physical creation of art, and about the painful bond between an artist and his muse.” The great Japanese director Akira Kurosawa named it one of his two favorite movies of the 1990s — with Takeshi Kitano’s Fireworks – calling it the best filmed display of a struggle of an artist doing his craft, as well as a movie he would have liked to have directed.

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The Weekend Report

Avengers: Infinity War led weekend viewing with an estimated $113.2 million. Three new national releases did little to erode the Marvel juggernaut. Overboard – a remake of the 1987 comedy pairing real-life couple Goldie Hawn and Kurt Russell – was second with $14.3 million. Further down the line, the Diablo Cody-Charlize Theron-Jason Reitman reteam Tully struggled to $3.2 million and Bad Samaritan collapsed with $1.6 million.

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Friday Box Office Estimates

When Disney gave themselves an extra week of space at the box office by pushing into an April release for Avengers: Infinity War, no one else moved a muscle. As a result, there are just three counterprogrammers opening wide this weekend, the best performing of which is Pantelion and Lionsgate’s Overboard remake, aimed at the Spanish-speaking market. This will be Eugenio Derbez’s strongest U.S. launch as a brand so far, even if the number looks small. Focus is opening Tully on more than double the screens that Young Adult launched, with about the same result. Electric’s Bad Samaritan is looking like an overreach on 2,007 screens. And the doc RBG will crack $10k per screen on 34 for Magnolia, while it could have probably been stronger at another moment… but hard to say when… hard to plan in the fury of the political climate.

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The DVD Wrapup: In the Fade, Insult, In Between, Please Stand By, Kaleidoscope, Schlock, The Unwilling, Tremors, Capitalism and more

In Fatih Akin’s award-winning drama, In the Fade, we’re asked to share the grief of a woman whose husband and son are murdered in a racially motivated bombing so intense that police say they were burned beyond recognition. German-born Katja Sekerci (Diane Kruger) is married to a Turk – once convicted for selling hashish, not that it matters – whose business is in a part of Hamburg where the immigration community has been vulnerable to attacks by nationalist and anti-immigration groups. Just after she drops her son off at his dad’s office, Katja cautions a young woman against leaving her bicycle unlocked on the street. By the time she returns to pick them up, the bomb has already been detonated and the damage done.

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MCN Originals

Quote Unquotesee all »

“There are different signs that this is not stopping. I don’t think that anger and frustration and those feelings can go away. I hope they don’t. The attention and support for the victims needs to be continued, more than people worried about these abusers and what’s next for them, how are they going to move on — shut up. You know what? If any of these people come back, I would say, “I can’t wait to see who is actually going to support them.” That is going to be the glaring horror. Who is going to be, like, “This is a pressing issue, and we need to get them back?” If a janitor was so great at cleaning the building but also tended to masturbate in front of people, would the people at that building be like, “Yes, he masturbated, but I’ve never seen anyone clean so thoroughly, and I was just wondering when he’s going to get his job back, he’s so good at it.” No, it would be, “That’s not acceptable.” It’s fame and power that people are blinded by.”
~ Tig Notaro in the New York Times

“It’s never been easy. I’ve always been one of the scavenger dogs of film financing, picking up money here and there. I’ve been doing that all my life. This was one was relatively easy because certain costs have gone down so much. I made this film in 20 days whereas 30 years ago, it would have been made in 42.”
~ Paul Schrader