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June 3, 2018

‘Solo: A Star Wars Story’ Drops 65 Percent at the Box Office, Breaking the Wrong Records

The weekend could have been worse for “Solo: A Star Wars Story”: It dropped 65 percent at the box office, but the projection going in was closer to 70 percent. Add to this a drop of 46 percent overseas and we’re looking a film with a shortfall in the tens of millions at a minimum.

“Solo” likely scared studios off from programming any major new openings this weekend, which was a mistake. Last year saw the first June weekend thrive with “Wonder Woman,” which turned out to be last summer’s biggest domestic hit. This weekend, total box office dropped about $80 million, or 40 percent from last year. Last week the box office was about eight percent ahead of 2017, but this week’s freefall will bring that down to about 6.5 percent. If we can sustain that through the summer, that will be terrific — but that’s a big if.

Through 10 days, “Solo” is just under $150 million domestic ($264 million worldwide, with Japan the sole major territory yet to open). That could be around two thirds of its ultimate haul, which looks headed to $225 million domestic and $400 million worldwide. That will make “Solo” one of the highest-grossing, money-losing films ever — although still below the adjusted results for 1963’s “Cleopatra,” which managed to be the biggest film released that year and a studio-crushing flop.

In 2017, $225 million for “Solo” would placed it at #13. It’s a stunning reversal after the last three Disney releases each proved to be the top films of their years, grossing between $550 million and nearly $1 billion. A trend or a fluke? Disney will have to wait with bated breath until “Chapter Nine” opens for Christmas 2019. Much sooner, we’ll see if it could be a virus infecting other franchise heavyweights like “Incredibles 2” and “The Lost World: Fallen Kingdom,” both of which open mid-June. (“Ocean’s 8” joins the fray this Friday, with decent if lesser expectations.)

Sam Claflin and Shailene Woodley star in ADRIFTCourtesy of STXfilms


Courtesy of STXfilms

From the box-office perspective, summer began in late April with “Avengers: Infinity Wars” — but the releases this week don’t reflect the season. Three combined for $18 million total, with nearly two thirds of that coming from “Adrift” with Shailene Woodley lost at sea. STX is reported to be into the film for a combined acquisition/marketing cost of under $30 million, so it could justify the investment. The performance is on par with the opening of “47 Meters Down” last June. That sleeper went on to quadruple its opening, but “Adrift” will have to fight off some strong new openers to have a chance to do that.

upgrade sxsw


BH Tilt’s low-budget (including lower than usual marketing expense) “Upgrade” managed the sixth spot after getting some buzz first at South by Southwest and subsequent positive reviews. A near-future thriller with self-driving cars playing a key role, it’s unusual to see a genre film show a gross on Saturday equal to its Thursday night/Friday results. This has a shot at holding on for more than two weeks, and potentially adding theaters (it debuted at 1,457).

Johnny Knoxville Action Point

“Action Point”

Playing a second week would be a gift for the latest Johnny Knoxville effort “Action Point,” a career low. His “Jackass” films once opened as high as over $50 million. With $2.3 million and ninth place, his moment seems to have passed.

“Deadpool 2” grossed nearly 80 per cent as much as “Solo” going into its third week. That’s a 46 percent drop (of course, all films this week follow the elevated comparison of the three-day Memorial weekend). That’s close to the third-week drop for the original “Deadpool,” which adjusted reached $300 million at this point; “Deadpool 2” stands at $254 million, still very good. Worldwide totals should reach around $700 million, even without China — especially impressive given its relatively modest production costs under $150 million.

The other Marvel title, “Avengers: Infinity War,” dropped 40 per cent. It’s still #4 and made over $10 million in its sixth weekend. Domestic total is $642 million, and it will almost certainly fall a little shy of “Black Panther,” which is creeping up to $700 million.

“The Book Club” dropped less than 33 percent with $6.8 million. It should reach $60 million, about a 4.5 multiple from its opening. Its senior female four leads come in at an average age over 70. Maybe Johnny Knoxville should consider costarring with them.

Female leads also head “Life of the Party” and “Breaking In” also showed similar holds. “Overboard” with Eugenio Derbez held on to 10th spot. The English-language comedy from Pantelion will be that production company’s biggest domestic success.

The Top Ten

1. Solo: A Star Wars Story (Disney) Week 2; Last weekend #1

$29,296,000 (-65%) in 4,382 theaters (no change); PTA (per theater allowance): $6,687; Cumulative: $148,889,000

2. Deadpool 2 (20th Century Fox) Week 3; Last weekend #2

$23,325,000 (-46%) in 4,161 theaters (-188); PTA: $5,606; Cumulative: $254,652,000

3. Adrift (STX) NEW – Cinemascore: B+; Metacritic: 56; Est. budget: $35 million

$11,510,000 in 3,015 theaters; PTA: $3,818; Cumulative: $11,510,000

4. Avengers: Infinity War (Disney) Week 6; Last weekend #3

$10,371,000 (-40%) in 3,570 theaters (-198); PTA: $2,905; Cumulative: $642,870,000

5. Book Club (Paramount) Week 3; Last weekend #4

$6,800,000 (-32%) in 3,169 theaters (+169); PTA: $2,146; Cumulative: $47,317,000

6. Upgrade (BH Tilt) NEW – Metacritic: 65; Est. budget: $4 million

$4,458,000 in 1,457 theaters; PTA: $3,060; Cumulative: $4,458,000

7. Life of the Party (Warner Bros.) Week 4; Last weekend #5

$3,455,000 (-36%) in 2,511 theaters (-426); PTA: $1,376; Cumulative: $46,301,000

8. Breaking In (Universal) Week; Last weekend #6

$2,815,000 (-%) in 1,682 theaters (-303); PTA: $1,674; Cumulative: $41,346,000

9. Action Point (Paramount) NEW – Cinemascore: C+; Metacritic: 37; Est. budget: $19 million

$2,315,000 in 2,032 theaters; PTA: $1,139; Cumulative: $2,315,000

10. Overboard (Lionsgate) Week 5; Last weekend #8

$1,975,000 (-37%) in 1,228 theaters (+32); PTA: $1,608; Cumulative: $45,523,000

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Source: IndieWire film

June 3, 2018

Tom Cruise Performs His Most Dangerous Stunt Yet in ‘Mission: Impossible – Fallout’ — Watch

Tom Cruise broke his ankle while filming “Mission: Impossible – Fallout,” and the injury didn’t even occur during the most serious stunt. The 55-year-old — whose penchant for performing death-defying feats himself rather than relying on stuntmen — also performed the highly dangerous HALO (high altitude, low opening) Jump to once again make Ethan Hunt’s exploits feel as real as possible. Watch a behind-the-scenes look at the stunt below.

Said jumps usually take place at 25,000 feet, which is high enough to induce hypoxia and “the bends” — “You start losing your mind and you don’t realize it,” says one stunt coordinator in the video. Everyone else in in the featurette likewise plays up how dangerous the jump was, as there’s much that can go wrong and no room for error. Cruise himself doesn’t add much other than saying how excited he is for audiences to see this latest act of derring-do.

“Fallout” is the sixth entry in the “Mission: Impossible” franchise, and like 2015’s “Rogue Nation” it was directed by Christopher McQuarrie. Michelle Monaghan, Rebecca Ferguson, Henry Cavill, Simon Pegg, Ving Rhames, Alec Baldwin, Angela Bassett, Wes Bentley, and Vanessa Kirby co-star in the film, which Paramount will release on July 27.

Source: IndieWire film

June 3, 2018

Before Harvey Weinstein’s Downfall, TWC Employees Cited ‘Sexual Harassment’ at ‘Extremely Volatile’ Company on Glassdoor

More than a year before Harvey Weinstein was first accused of sexual harassment, one employee of the Weinstein Company employee said that it was “the norm” at TWC in a Glassdoor review. The site is widely used throughout several industries to allow for current and former employees of companies to submit reviews of their experiences.

The studio — which was bought by Lantern Capital last month after declaring bankruptcy — has a 3.1 rating (out of 5) based on 33 reviews written between June 2010 and October 2017, with just 43 percent saying they would recommend TWC to a friend.

The full review: “Micromanagement hell. Assistants who become VP’s overnight was too often. Sexual harassment was the norm.” The user — listed only as Former Employee – Anonymous Employee — posted the review in May of 2016, nearly a year and a half before Weinstein was publicly accused of sexual misconduct. The former mogul has since been fired, expelled from the Academy, and indicted ahead of his upcoming rape trial.

Another wrote that “nobody really knows the chain of command–whose position is above whose. Everyone is a little scared of Harvey”; that sentiment is echoed by a user who said their job “sometimes can be stressful in the presence of Harvey or Bob; some employees with (jokingly or otherwise) tell you to avoid eye contact.”

Weinstein’s reputation as a domineering executive preceded his sexual-harassment scandal by years. Yet another review includes complaints about senior management at the company, noting that some of them are “extremely volatile (to put it mildly)” without naming names.

All employer reviews on Glassdoor are anonymous, though the site does require users to validate their accounts via email activation. It does not, however, appear to verify that they work where they say they do — possibly to ensure their anonymity.

Per its FAQs page, Glassdoor suggests that individuals “submit only one review, per employer, per year, per review type (e.g. company review, interview review, salary review, benefit review, etc.)” and only write reviews pertaining to positions held within the last five years. Every submission is reviewed before appearing on Glassdoor, a process that often takes 24 hours to ensure that certain standards are met.

Reached for comment, Glassdoor provided a statement to IndieWire:

Glassdoor strives to be the most trusted and transparent place to search for jobs and research companies. Before a review appears on Glassdoor, every review is vetted through a multi-tier moderation process to determine that it meets our Community Guidelines and conforms to our Terms of Use. Glassdoor does not investigate or confirm claims made in reviews.

“Glassdoor believes in the principles of anonymity and freedom of speech online. As part of this, we believe that everyone has a right to voice his or her opinions about their workplace, including if they believe they have experienced or witnessed behavior such as sexual harassment.”

Source: IndieWire film

June 3, 2018

MoviePass Boosts ‘American Animals’ at Specialty Box Office

Sundance debut “American Animals” (The Orchard), the twisty docudrama hybrid recreation of a high-stakes Kentucky college heist, got a boost on its way to dominating the specialty box office this weekend. It’s one of the best platform releases in recent weeks. And it was a surprise.

The Orchard partnered with MoviePass when it acquired “American Animals” for a reported $3 million. Clearly, that extra MoviePass marketing push made a significant difference.

Meanwhile two current successes, “RBG” (Magnolia) and “First Reformed” (A24), continue to impress at different stages of expansion, with the former heading toward becoming Magnolia’s biggest grosser.


American Animals (The Orchard) – Metacritic: 63; Festivals include: Sundance, South by Southwest, San Francisco, Seattle 2018

$140,633 in 4 theaters; PTA (per theater average): $35,158

That this caper film about a 2004 rare book theft had such a strong opening at four key New York/Los Angeles platform theaters comes as a surprise. The reviews weren’t that great, and it boasted no marquee draws. And The Orchard was trying to reach the trickiest audience for specialized movies: 20-something millennials similar to the film’s principals.

The secret sauce that helped The Orchard reach an opening PTA double their previous best (“Hunt for the Wilderpeople”) is their partnership with embattled MoviePass. The two companies combined to pick up the film at Sundance. The app then utilized its resources to publicize the film to its subscribers, and the result paid off with a result much bigger than the film was expected to deliver.

The Arclight Hollywood, which does not honor MoviePass, had a respectable gross, but it was the third best of the four theaters, and behind the older-audience The Landmark by some margin.

This could be a blip, an exaggerated response based on the higher reported subscriptions in these two cities. Or, as we will see as this expands this week and beyond, an indication of how MoviePass could benefit distributors and theaters and find a more receptive hearing from established movie entities.

What comes next: This will expand to multiple larger cities this Friday with further expansion planned through June and beyond.

“A Kid Like Jake”

IFC Films

A Kid Like Jake (IFC) – Metacritic: 59; Festivals include: Sundance, San Francisco, Seattle 2018

$9,063 in 1 theater; PTA: $9,063

A top line cast including Jim Parsons, Claire Danes, and Octavia Spencer head this Manhattan drama about finding the right private school for an imaginative four-year-old who likes to dress like a girl. The Sundance premiere scored a mixed critical response for its exclusive initial run at the IFC Center, where it got some sampling. This will not be  breakout for IFC.

What comes next: Los Angeles opens this Friday, the same day as streaming availability starts.

Breath (FilmRise) – Metacritic: 70; Festivals include: Toronto 2017

$5,700 in 1 theater; PTA: $5,700

Already a significant independent success in Australia, this story of two teen surfers who take a road trip across that vast country comes from veteran actor Simon Baker (TV’s “The Guardian” and “The Mentalist”). It opened at one New York location to good reviews but modest results at the Angelika.

What comes next: Los Angeles is among the June 8 openings.

Week Two

The Gospel According to Andre (Magnolia)

$82,000 in 21 theaters (+17); PTA: $4,100; Cumulative: $166,841

Andre Leon Talley, the latest larger-than-life fashionista to get his feature documentary spotlight, saw the film about him expand to multiple cities with a middling but respectable result.

Summer 1993 (Oscilloscope)

$15,500 in 5 theaters (+1); PTA: $3,100; Cumulative: $50,186

Spain’s most recent Oscar submission held up well in its initial dates in its second weekend, although similar to most subtitled films, the numbers indicate niche interest ahead.


“Mary Shelley”

Mary Shelley (IFC)

$14,459 in 9 theaters (+7); PTA: $1,606; Cumulative: $36,505

Sui generis Saudi female director Haifaa al-Mansour’s British biopic about the “Frankenstein” author expanded to new cities without getting much added interest.

Who We Are Now (FilmRise)

$5,500 in 3 theaters (+2); PTA: $1,833; Cumulative: $12,221

This strongly reviewed drama about an ex-con mother struggling to regain custody added Los Angeles to continued modest results.

How Long Will I Love U? (Well Go USA)

$170,700 in 32 theaters (+9); PTA: $5,334; Cumulative: $502,521

This Chinese time-travel romance continues to find interest in limited theaters that draw audiences for mainland general audience films.


Ongoing/expanding (grosses over $50,000)

RGB (Magnolia) Week 5

$1,100,000 in 432 theaters (+17); Cumulative: $7,876,000

Now ahead of their equally impressive “I Am Not Your Negro,” Magnolia looks to have their biggest grosser ever with this documentary on the Supreme Court Justice. A $10 million-plus total is in view, which would put it ahead of “Woman, Thou Are Loosed” (2004) which adjusted also reached that mark.

First Reformed (A24) Week 3

$455,435 in 91 theaters (+62); Cumulative: $1,057,000

Paul Schrader’s strongly reviewed drama about theological doubt and despair continues to click with art house devotees as is expands further. This continues to suggest a future in core theaters with some crossover that should put it ahead of all other serious specialized dramas released so far this year, and could yield an eventual Best Actor Oscar nomination for Ethan Hawke or even, a first screenplay nomination for Schrader.

The Rider (Sony Pictures Classics) Week 8

$243,055 in 224 theaters (+117); Cumulative: $1,743,000

In its widest release yet, this contemporary western, though one of the most acclaimed films of the year is still not showing more than minor results.

DISOBEDIENCEAlessandro Nivola (left) as Dovid Kuperman and Rachel McAdams (right) as Esti Kuperman CR: Bleecker Street


Bleecker Street

Disobedience (Bleeck Street) Week 6

$211,271 in 158 theaters (-66); Cumulative: $3,057,000

This gay romance set in a London synagogue is heading to around a $4 million total, with stars Rachel McAdams and Rachel Weisz continuing as the main draw.

Pope Francis – A Man of His Word (Focus) Week 3

$150,000 in 273 theaters (-112); Cumulative: $1,568,000

While Ruth Bader Ginsberg continues to ride high, this documentary about another admired icon is not showing similar results despite a similar number of theaters played.

On Chesil Beach (Bleecker Street) Week 3

$142,400 in 89 theaters (+64); Cumulative: $345,606

Similar to Saoirse Ronan’s recent ensemble release “The Seagull,” this film romance (adapted from a 60s Ian McEwan romance) is not showing signs of any momentum after the big success of “Ladybird.”

Isle of Dogs (Fox Searchlight) Week 11

$135,000 in 129 theaters (-33); Cumulative: $31,400,000

Wes Anderson’s latest animated efforts is still playing after nearly three months in release.

Saoirse Ronan

“The Seagull”

Sony Pictures Classics

The Seagull (Sony Pictures Classics) Week 4

$130,573 in 52 theaters (+23); Cumulative: $526,526

Chekhov with a top flight ensemble cast continues to show some interest in limited specialized situations.

Beast (Roadside Attractions) Week 4

$87,610 in 92 theaters (-1); Cumulative: $629,563

This murder/romantic tale set off the British coast is getting little traction despite play at top specialized theaters.

Let the Sunshine In (IFC) Week 6; also streaming

$80,068 in 68 theaters (+1); Cumulative: $696,489

Claire Denis’ latest, with a stellar French cast and appeal to sophisticated older crowds, continues on its path to a likely $1 million gross. That’s better than most arthouse subtitled films. In this case, it comes while also having streaming availability.

2001: A Space Odyssey (Warner Bros.) (reissue)  Week 3

$69,000 in 5 theaters (+1); Cumulative: $564,000

With all the 50th anniversary commemorations of 1968, this 70mm reissue is one of the few happy ones. Its limited play continues to do very well at very select theaters.

Also noted:

Mountain (Greenwich) – $36,000 in theaters; Cumulative: $90,472

The Death of Stalin (IFC) – $29,102 in 30 theaters; Cumulative: $7,943,000

Always at the Carlyle (Good Deed) – $18,212 in 23 theaters; Cumulative: $90,613

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Source: IndieWire film

June 3, 2018

‘The Wild Pear Tree’ Teaser: Nuri Bilge Ceylan’s Cannes Standout Looks Gorgeous

A few weeks after premiering at Cannes, Nuri Bilge Ceylan’s “The Wild Pear Tree” already has a teaser. The Turkish auteur has a storied history at the festival — his last film, “Winter Sleep,” won the Palme d’Or, and he’s previously been awarded the Grand Prix (“Once Upon a Time in Anatolia,” 2011) and Best Director (“Three Monkeys,” 2008) prizes as well — but his latest left France empty-handed despite strong reviews.

In his Cannes review, IndieWire’s Eric Kohn writes that the film is “brisk” by Ceylan’s standards despite its imposing three-hour running time and “maintains a visual sophistication unparalleled” in international cinema. Here’s the film’s very brief synopsis: “An aspiring writer returns to his native village in rural Turkey, where he becomes overwhelmed by his father’s debts.”

The minute-long teaser is wordless and gives little sense of the plot, but it does make it clear that Ceylan’s visual mastery indeed remains intact. Aydin Doğu Demirkol, Murat Cemcir, Bennu Yıldırımlar, and Hazar Ergüçlü star in “The Wild Pear Tree,” which has yet to secure stateside distribution.

Source: IndieWire film

June 1, 2018

SXSW Alumni Film Releases – June 2018

Discover some of the SXSW Film Festival alumni films and shows on release this month, such as American Animals, Boundaries, and Condor. Continue on for a complete list with trailers and more info.

American Animals
Narrative Feature, 2018
Website | Trailer

An irresistible heist caper, with a subversive approach to truth in storytelling, and a killer cast that includes Barry Keoghan and Ann Dowd.
In Theaters June 1

Narrative Feature, World Premiere, 2018
Website | Trailer

Starring Leslie Mann, Ike Barinholtz and John Cena, the directorial debut of Kay Cannon (Pitch Perfect) is a satisfyingly hilarious, bawdy comedy.
On Demand June 19

Narrative Feature, World Premiere, 2018
Website | Trailer

Nuanced, riveting performances by Christopher Plummer and Vera Farmiga make this offbeat road trip movie truly compelling viewing.
In Theaters June 22

Episodic, World Premiere, 2018
Website | Trailer

Inspired by Sydney Pollack’s iconic Three Days of the Condor, this pulse-pounding conspiracy thriller stars Max Irons, William Hurt, and Mira Sorvino.

Broadcast June 6

Narrative Feature, 2018
Website | Trailer

The Zellner brothers return with their brilliantly eccentric, singular spin on the western, starring Robert Pattinson.
In Theaters June 22

Half the Picture
Documentary Feature, 2018
Website | Trailer

Urgent and timely, Half the Picture explores and extolls the role of women in filmmaking, from indie to Hollywood, featuring Ava DuVernay, Jill Soloway, Gina Prince-Bythewood, and many more.
In Theaters June 8

Hearts Beat Loud
Narrative Feature, 2018
Website | Trailer

Fresh, unpretentious, and unabashedly heart-warming, Brett Haley’s latest features Nick Offerman and Kiersey Clemons as an effortlessly compelling father/daughter songwriting duo.
In Theaters June 8

Narrative Feature, 2018
Website | Trailer

Toni Collette anchors an innovative, terrifying horror film that’s surely destined to devastate audiences for years to come. Insidious and unmissable.
In Theaters June 8

Documentary Feature, World Premiere, 2017
Website | Trailer

Miao Wang’s sensitive documentary is at once a coming-of-age story and a delicate, nuanced evocation of alienation, cultural difference and identity.
In Theaters June 8

Nossa Chape
Documentary Feature, World Premiere, 2018
Website | Trailer

Acclaimed documentarians Jeff and Michael Zimbalist return with the devastating story of a tragic plane crash that killed all but three members of Brazil’s Chapacoense soccer team.
In Theaters June 1

Narrative Feature, World Premiere, 2018
Website | Trailer

This brutal future-shocker doesn’t hold back, channeling the icy technophobic tropes of classic sci-fi into something new and thrilling.
In Theaters June 1

Won’t You Be My Neighbor?
Documentary Feature, 2018
Website | Trailer

This definitive portrait of Mr. Rogers, America’s favorite neighbor and an enduring force for kindness and compassion, is the film the world needs right now.
In Theaters June 8

The post SXSW Alumni Film Releases – June 2018 appeared first on SXSW.

Source: SxSW Film

May 28, 2018

The Unedited Interview: Farah Ebrahimi and Rose Elizabeth Gorman

Did you know that the stories you hear from us on NPR and our podcast are excerpts of interviews pulled from the StoryCorps Archive? Participants visit one of our recording locations with a friend or family member to record a 40-minute interview with the help of a trained StoryCorps facilitator, or record a conversation using the StoryCorps App. We’re sharing this unedited interview from the StoryCorps Archive with you in its original form.

In July 2008, Farah Ebrahimi told Rose Elizabeth Gorman the story of her three migrations. She first migrated from Iran to the United States at age 10. She then returned to Iran to aid democratic groups in the Iranian Revolution. The third migration was a risky escape back to the United States after her husband was executed for opposing Ayatollah Khomeini.


Farah explains that she migrated as a child to the United States while her mother completed her education. She ended up staying in the United States until she met her first husband, with whom she decided to return to Iran together to take part in the Iranian revolution. “We returned to Iran, hoping that we would get to take part in this great event that was going to change Iran into a progressive, forward-looking, democratic country… However, this story didn’t end so happily.”

One day, after returning to Iran, her husband left home and never returned. Farah learned that he had been imprisoned and later executed for his role in the opposition of Khomeini. While he was imprisoned, he sent her a hidden message urging her to return to the United States with their child. She immediately went into hiding before attempting a risky escape. “[After] two and some months, we met with smugglers who took us from the Azerbaijan section of Iran, which is the northwestern part of Iran, through the Iranian part of Kurdistan to the Iraqi part of Kurdistan to the Turkish part of Kurdistan… There, we were under arrest of the Turkish government because we had crossed the border illegally. We were not allowed to leave Turkey until the government did a background check, which generally took two to three months.”

With the assistance of her brother, an American general, and a high-level Turkish intelligence officer, Farah, her young daughter, and her unborn son were eventually able to leave Turkey and return to the United States, where they continue to live.

Rose asks Farah, “How do you define home?” “Very good question. And I think it’s a question for all people like us, who are not true immigrants, but exiles as well as immigrants. We are always conflicted. Part of us belongs here, part of us belongs there, part of us doesn’t belong anywhere. We are the people caught in a perpetual search for a final identity. Very different from my daughter and son, who are very firmly Americans, or Iranian-Americans, as you would hyphenate it, and are comfortable with that identity. We are the semi-exiles.”

All material within the StoryCorps collection is copyrighted by StoryCorps. StoryCorps encourages use of material on this site by educators and students without prior permission, provided appropriate credit is given. This interview has not been fact-checked, and may contain sensitive personal information about living persons.

Source: SNPR Story Corps

May 27, 2018

Box Office Breakouts ‘RBG’ and ‘First Reformed’ Hold Strong

Yet another fashion designer documentary, “The Gospel According to Andre” (Magnolia), stood out among new specialized releases. While Memorial Day Weekend will occasionally launch a major platform release like Terence Malick’s “The Tree of Life” a few years ago, this year’s holiday weekend maintained the norm.

Nonetheless specialized audiences are still searching out top films like Magnolia’s Top Ten $5-million breakout “RBG,” about the octogenarian Supreme Court justice, which continues to thrive at over 400 theaters. Paul Schrader’s “First Reformed” (A24) found more interest in its second weekend in a top city expansion as it goes full steam ahead.

Ethan Hawke "First Reformed"

Hawke in “First Reformed”



The Gospel According to Andre (Magnolia) – Metacritic: 68; Festivals include: Toronto 2017, Palm Springs 2018

$(est.) 45,000 in 4 theaters; PTA (per theater average): $(est.) 11,250

Without hard numbers from Magnolia, it seems the four-theater, two-city opening for this latest fashion world documentary about the iconic Andre Leon Talley had a decent initial foray. New York performed particularly well in theaters close to runways.

What comes next: This starts its national expansion this Friday.

"How to Talk To Girls at Parties"

“How to Talk to Girls at Parties”

How to Talk to Girls at Parties (A24) – Metacritic: 47; Festivals include: Cannes 2017, San Francisco 2018

$13,179 in 2 theaters; PTA: $6,590

John Cameron Mitchell (“Hedwig and the Angry Inch,” “Rabbit Hole”) returns to comedy with this aliens-in-London musical. A year after its Cannes debut, it opened in New York and Los Angeles to better results than most other of the week’s releases, but still far below his earlier efforts.

What comes next: Expect A24 to push this to top cities though it looks like it has limited prospects.

Mary Shelley (IFC) – Metacritic: 49; Festivals include: Toronto 2017, Tribeca 2018

$12,016 in 2 theaters; PTA: $6,008

In one of the more interesting recent career trajectories, Saudi Arabia’s pioneer director Haifaa al-Mansour followed up her “Wadjda” with this British-made biopic about the author of “Frankenstein.” With Elle Fanning in the lead, this opened exclusive dates in New York and Los Angeles to little response.

What comes next: Seven more cities come aboard this Friday.

Who Are We Now (FilmRise) – Metacritic: 83; Festivals include: Toronto 2017, South by Southwest 2018

$5,800 in 1 theater; PTA: $5,800

Julianne Nicholson and Emma Roberts costar as an ex-con trying to reunite with her daughter and the crusading lawyer at her side. With strong reviews continuing the acclaim this received at its festival showings, this opened at the Village East in Manhattan to modest results.

What comes next: Los Angeles is next this Friday.

The Misandrists (Cartilage) – Metacritic: 55; Festivals include: Berlin 2017

$3,000 in 1 theater; PTA: $3,000

Veteran indie director Bruce LaBruce’s latest opened exclusively in Manhattan to minor results

What comes next: Landmark’s Los Angeles Nuart opens this Friday.

Week Two

First Reformed (A24)

$282,507 in 29 theaters (+25); PTA: $9,742; Cumulative: $425,469

Paul Schrader’s crisis of faith drama starring Ethan Hawke continues to resonate with specialized audiences as it expands to new cities in its second week, propelled by the best reviews of the year so far. Its numbers in wider release compare favorably to recent limited openers (“Disobedience,” “The Death of Stalin” among them). “Disobedience” had nearly double an opening weekend per theater average, but only grossed about the same its second weekend in similar theaters. This serious, provocative film could find a significant arthouse audience ahead.

“Pope Francis – A Man of HIs Word”

Focus Features

Pope Francis: A Man of His Word (Focus)

$290,000 in 385 theaters (+39); PTA: $748; Cumulative: $1,195,000

The pontiff’s popularity has not translated into tickets sold as Wim Wenders’ documentary falls from its mediocre initial reaction.

On Chesil Beach (Bleecker Street)

$91,132 in 25 theaters (+21); PTA: $3,505; Cumulative: $146,079

Saorise Ronan as half of a newlywed early 1960s English couple heads this adaptation of Ian McEwan’s novel. The result early on is not getting the response as “Atonement” from the same author.

2001: A Space Odyssey (Warner Brothers)  (reissue)

$66,000 in 4 theaters (no change); PTA: $16,500; Cumulative: $387,000

Not as sensational as its first weekend, but the 70mm revival of Kubrick’s classic still soars above most reissues.


Ongoing/expanding (grosses over $50,000)

RBG (Magnolia) Week 4

$1,120,000 in 415 theaters (+40); Cumulative: $5,637,000

Ruth Ginsberg’s star continues to shine as the documentary on the Supreme Court justice returns to the Top Ten (it ended up #12 last weekend). This shocking success now looks like it will easily better the strong results Magnolia saw from “I Am Not Your Negro” (over $7 million) despite not having an award-parallel release.

Disobedience (Bleecker Street) Week 5

$368,554 in 224 theaters (-23); Cumulative: $2,527,000

Chilean Sebastian Lelio’s English-language debut has now grossed more than his Oscar Foreign Language winner “A Fantastic Woman” by about $500,000. Once again focusing on strong female characters outside societal norms, his London-set romance with Rachel Weisz and Rachel McAdams should end up around $3.5 million.

Isle of Dogs (Fox Searchlight) Week 10

$196,000 in 162 theaters (-126); Cumulative: $31,145,000

Wes Anderson’s latest animated film keeps adding to its year’s best so far specialized total.

The Rider (Sony Pictures Classics) Week 7

$184,578 in 107 theaters (+17); Cumulative: $1,371,378

The grosses remain modest, but at least the per theater average remains consistent.

Beast (Roadside Attractions) Week 3

$175,120 in 93 theaters (+62); Cumulative: $407,195

This British remote island thriller tripled its theaters to minor impact.

Annette Bening

“The Seagull”

Sony Pictures Classics

The Seagull (Sony Pictures Classics) Week 3

$116,605 in 29 theaters (+16); Cumulative: $216,981

This heavyweight ensemble cast Chekhov play adaptation, also starring Ronan,  is getting minor sampling as it expands to more top big-city locations.

Let the Sunshine In (IFC) Week 5; also streaming

$104,263 in 69 theaters (+20); Cumulative: $540,506

Claire Denis’ midlife French romantic story continues to do respectable business considering its same time home-viewing availability.

Also noted:

The Death of Stalin (IFC) – $38,742 in 38 theaters; Cumulative: $7,880,000

Always at the Carlyle (Good Deed) – $15,562 in 13 theaters; Cumulative: $52,317

Finding Your Feet (Roadside Attractions) – $12,200 in 20 theaters; Cumulative: $1,396,000

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Source: IndieWire film

May 27, 2018

Christopher Nolan Calls Stanley Kubrick the Greatest Filmmaker in the History of Film

As you may have noticed over the last few months, Christopher Nolan is pretty into “2001: A Space Odyssey.” He presented an unrestored 70mm print of Stanley Kubrick’s sci-fi benchmark at Cannes ahead of its recent theatrical release, and more recently appeared on the Treatment podcast to discuss his love of the film itself and film in general, describing celluloid and the photochemical process as “the best analogy for the way the eye sees that’s been invented.”

“There’s a depth to the color, there’s a superiority to the resolution, there’s a depth to the blacks, the contrasts, everything. I mean, there are all kinds of things that digital technology can’t duplicate,” Nolan adds.

“It can do its own version and all that, and there are a lot of filmmakers who respond really well to that and really enjoy that version of imaging, but it’s different. And so when you start looking at film history, and you start looking at ‘2001’ and the experience that I was able to have watching it on an early re-release, to be able to give audiences today that same analog experience, I think it’s very important.”

He also refers to Kubrick as the greatest filmmaker in the history of film. Listen to his full conversation with Elvis Mitchell below.

Source: IndieWire film

May 27, 2018

Harvey Weinstein’s Courtroom Sketches Make Him Look Like a Monster, Which May Have Been the Point

Harvey Weinstein had what’s likely to be his first of many days in court on Friday, and reactions have been expectedly unsympathetic. Asia Argento and Rose McGowan were gleeful, Ashley Judd called it “a watershed event,” and Paz de la Huerta — who, like the other three women, is among Weinstein’s many, many accusers — “couldn’t stop crying.” If her sketches are any indication, it would appear that courtroom artist Jane Rosenberg doesn’t feel too bad for the disgraced former mogul either.

As seen below, Rosenberg — who also created a famous likeness of Patriots quarterback Tom Brady during the “Deflategate” scandal — emphasized Weinstein’s rotund frame and made his facial features borderline monstrous. Weinstein spoke only one word during his 10-minute arraignment — “Yes” — which he was handcuffed for the duration of. He agreed to pay $1 million in bail and left shortly thereafter.

“Mr. Weinstein will enter a plea of not guilty,” said his attorney, Benjamin Brafman, to reporters assembled outside the courtroom. “We intend to move very quickly to dismiss these charges.” Weinstein’s next court date is set for July 30.

Source: IndieWire film