MCN Columnists
Leonard Klady

Leonard Klady Klady@moviecitynews.com

Gross Behavior Column

The Gronvall Report: Michaël Dudok de Wit On THE RED TURTLE

There are many animals among this year’s contenders for the Best Animated Film Academy Award, including Finding Dory, The Secret Life of Pets and Zootopia, but none as mysterious as the title character in the hauntingly beautiful The Red Turtle. This wordless fable shows how a man shipwrecked on an uninhabited island, far from any other land mass, copes with loneliness and his sometimes hostile environment. The arrival of a giant red sea turtle changes his life in ways he never could have foreseen.

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Leonard Klady on Claude Sautet

Although he would occasionally return to the thriller format, it’s the sagas of the bourgeoisie that Sautet is most identified with and provides his legacy.

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Gross Behavior: Summer on Low Simmer

The preliminary numbers are in and summer season 2012 clocks in at approximately $4.04 billion at the box office. The figure represents roughly a 5% gross decline in gross revenues and an 8% decline in actual tickets bought during the period running from early May through the conclusion of Labor Day weekend.

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The Weekend Report

The Weekend Report

It was scary stuff kids (not really) as the debut of Hotel Transylvania 3: Summer Vacation hit the beach and the top of the charts with an estimated $43.9 million. The session’s other freshman national release was the burning inferno yarn Skyscraper that slotted third with $25.5 million.

New exclusive entries had a couple of standouts including the unconventional biopic He Won’t Get Far on Foot that opened to $84,500 from four venues and the coming-of-ager Eighth Grade that graduated with honors of $250,000 from an alternate quartet of screens.

A number of alternative titles also managed to secure significant expansions. The urban comedy Sorry to Bother You added 789 playdates and posted a potent $3.8 million box office. New engagements also maintained momentum for Three Individual Strangers and Leave No Trace.

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Weekend Report

What’s Buzzin’ Ant-Man and the Wasp infested the multiplex with an estimated $76.1 million to handily take command of weekend movie-going. The session other wide national opener The First Purge was fourth in the pecking order with $17.1 million. In limited wide release the tuneful doc Whitney (Houston) arrived with $1.2 million to mild applause….

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The Weekend Report

Jurrasic World: Fallen Kingdom led the Canada Day frame with an estimated $59.9 million. The session featured two new national releases on the pre-Indie Day altar. Sicario: Day of the Soldado slotted third with $18.5 million with the basketball comedy Uncle Drew right behind at $15.3 million.

Exclusive newcomers included excellent starts for the intense father-daughter saga Leave No Trace of $209,000 from nine screens. Also the doc Three Identical Strangers bowed to an upbeat $161,000 at five locales.

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Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“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