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 4-Day Weekend Report

Not a lot changed from the 3-day estimates to the 4-days. Hidden Figures stays out front, cracking $60m cume. The 2 family films, Sing and Monster Trucks (first and last time you will see them mentioned in the same sentence) both are estimating stronger days today than the adult fare. And La La Land stays bullish, breaking past $75m domestic 8 days before Oscar nomination morning.

(No Klady column today)

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The Weekend Report

Hidden Figures seemed an all-too-appropriate chart topper for the Martin Luther King, Jr. holiday weekend with an estimated three-day $20.4 million box office. The first holiday of 2017 offered three new national releases and two limited releases going wide, to grim or bland response. The chief exception was horror The Bye Bye Man , slashing to a $13.4 million debut. The ticking clock Sleepless grossed a passable $8.2 million while the widening of Patriots Day was nearly a flag-waver with $11.9 million. The media has already had a field day with commercial pileup Monster Trucks, which revved up to $10.5 million. But the abject rejection of Ben Affleck’s Live By Night prohibition era gangster costumer hasn’t received its fair share of ink. It bowed nationally to $5.2 million.

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The Weekend Report

A definite horse race, but Rogue One edged out the national expansion of Hidden Figures with respective estimated weekends of $21.8 million and $21.7 million. The session’s sole new national release was the latest installment of the Underworld franchise, Blood Wars, with $12.9 million.

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Quote Unquotesee all »

“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson