April 25, 2024
BYOB
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BYOB: 235 Years Of Relative independence
BYOB Weekend: Hop, An April Fool’s Gag?
| Friday | Screens | % Chg | Cume | |
|---|---|---|---|---|
| Title | Gross | Thtr | % Chgn | Cume |
| Venom | 33 | 4250 | NEW | 33 |
| A Star is Born | 15.7 | 3686 | NEW | 15.7 |
| Smallfoot | 3.5 | 4131 | -46% | 31.3 |
| Night School | 3.5 | 3019 | -63% | 37.9 |
| The House Wirh a Clock in its Walls | 1.8 | 3463 | -43% | 49.5 |
| A Simple Favor | 1 | 2408 | -50% | 46.6 |
| The Nun | 0.75 | 2264 | -52% | 111.5 |
| Hell Fest | 0.6 | 2297 | -70% | 7.4 |
| Crazy Rich Asians | 0.6 | 1466 | -51% | 167.6 |
| The Predator | 0.25 | 1643 | -77% | 49.3 |
| Also Debuting | ||||
| The Hate U Give | 0.17 | 36 | ||
| Shine | 85,600 | 609 | ||
| Exes Baggage | 75,900 | 62 | ||
| NOTA | 71,300 | 138 | ||
| 96 | 61,600 | 62 | ||
| Andhadhun | 55,000 | 54 | ||
| Afsar | 45,400 | 33 | ||
| Project Gutenberg | 36,000 | 17 | ||
| Love Yatri | 22,300 | 41 | ||
| Hello, Mrs. Money | 22,200 | 37 | ||
| Studio 54 | 5,300 | 1 | ||
| Loving Pablo | 4,200 | 15 |
| 3-Day Estimates | Weekend | % Chg | Cume |
|---|---|---|---|
| No Good Dead | 24.4 (11,230) | NEW | 24.4 |
| Dolphin Tale 2 | 16.6 (4,540) | NEW | 16.6 |
| Guardians of the Galaxy | 7.9 (2,550) | -23% | 305.8 |
| Teenage Mutant Ninja Turtles | 4.8 (1,630) | -26% | 181.1 |
| The Drop | 4.4 (5,480) | NEW | 4.4 |
| Let's Be Cops | 4.3 (1,570) | -22% | 73 |
| If I Stay | 4.0 (1,320) | -28% | 44.9 |
| The November Man | 2.8 (1,030) | -36% | 22.5 |
| The Giver | 2.5 (1,120) | -26% | 41.2 |
| The Hundred-Foot Journey | 2.5 (1,270) | -21% | 49.4 |
Review: Little Women (no spoilers) - The Hot Blog
Box Office First Look - The Hot Blog
Why You Should Be Afraid Of The End Of The Paramount Decree - The Hot Blog
Bangkok Dangerous wins the weekend with, uh, $7 mil or so. Even for the first weekend of Sept., just…wow.
Will probably catch A Girl Cut in Two tomorrow and that’s it until Burn After Reading.
Spider-man 4 and 5 are on the go… No words whether Dunst will sign on as MJ.
Any word on what’s happening with an expansion for Vicky Cristina Barcelona? This weekend seemed like as good as any to take it a bit wider than the extra 26 cinemas they gave it.
A Girl Cut in Two is on On-Demand…as was In Serach of a Midnight Kiss. It has been for 2 weeks I think. I don’t understand this like….going to see the movie 2 weeks after you could have seen it already buzz thing. LIke Midnight Kiss “opened” in L.A. after being totally available for weeks on-demand.
More power to the movies finding an audience and lord knows, I love going to the movies. But if you give me an option of waiting 2 weeks for something to open or taking 2 mins to buy a movie on-demand…I’ll go with the latter.
Anybody going to see the restored Godfather?
As far as I’m concerned, if it’s worth seeing, it’s worth seeing in a theater.
And some people don’t have cable.
Kamikaze, VCB was in my city for like two weeks and then disappeared. It’s still playing at other theaters in the region, so perhaps tomorrow afternoon I’ll see it. Depends how my recovering broken ankle feels that is.
As for my future movie going plans, I’ve bought tickets to 19 different films at the Vancouver Film Fest at the end of the month/beginning of October. Oi. Last year I saw 16 I think. Should be fun.
My ankle hurts now. Anyone know where Godfather will play (other than Filmforum)? LA? SF?
Screening of a new print of Die Hard sold out at the small theatre on Vine, I wonder if this will in the big theatre. I got mine, knock yourself out.
http://www.oscars.org/events/kurosawa/index.html
I love Seven Samurai. Especially on the big screen. It’s beautiful. Missed Rashomon when it was in Van last year. Hopefully they bring it back. I would like to see it on a big screen too. If Kurosawa doesn’t sell out in Hollywood, then it’s a sad day.
Kamikaze, I don’t think VCB will expand beyond this point. I think the Weinsteins are keeping the number of theatres consistent while moving it around from location to location. And it’s working for them – the box office yesterday dropped a mere 21% from last Friday.
big Al, it’s a restoration of Rashomon… just saying. bye.
The schedule is:
Sept. 18: Rashomon
Sept. 19: Kagemusha
Sept. 26: Seven Samurai
Sept. 27: Ran
Oct. 3: Yojimbo
Oct. 4: Dersu Uzala
Is Bangkok Dangerous SERIOUSLY in 1.85:1??????
WHAT KIND OF LAZINESS is that?????
No action movie should be shot flat; 2.35:1 is almost guaranteed TOTAL OWNAGE. 1.85:1 is like they DIDN’T EVEN TRY.
Again, I will say it:
80% of movies shot in widescreen are awesome.
75% of movies shot in 1.85:1 are lazy or inept.
THE KOK cries out for 2.35:1!
Hate to sound all Cranky Grandpa here, but a “restoration” that exists only in the digital realm barely deserves the label.
Who wants to pay money to see Kagemusha on a giant screen when you can see it for free in a 5-inch video on your computer via hulu?
That deserves a “LOL!”
“80% of movies shot in widescreen are awesome.
75% of movies shot in 1.85:1 are lazy or inept.”
Actually I would say the opposite…in a certain way of thinking of course.
Movies that are shot – and composed – for 2:35 can certainly be exhilarating but the majority of 2:35 films of the modern era in fact are composed for 1:85 to accomodate for the full-screen video culture that still permeates most people’s viewing habits. That’s why when you see a full screen DVD nowadays or TV version of a 2:35 movie you rarely see as much panning and scanning because the info has been kept in the centre of the frame.
Older 2:35 movies say, pre-birth of the sell through video market used the 2:35 or scope frame much better. The hey-dey of this composition was probably in the 50’s, 60’s and 70’s.
Similarly many full screen compositions can be equally exhilarating but it is a different way of thinking. It requires the director and DOP not to think in terms of horizontal plane composition but in terms of depth composition. Kubrick rarely even shot in 1:85 let alone 2:35 yet his films are meticulously composed for depth like A Clockwork Orange or The Shining. Similarly, take a look at the full frame compositions in Victor Fleming’s Gone with the Wind.
As you might say…total ownage.
Also…for the true 2:35 fan, one of the best composed films I have evers seen in that format that genuinely suffers in fullframe is Ghostbusters. Not one often thought of but it is.
“Movies that are shot – and composed – for 2:35 can certainly be exhilarating but the majority of 2:35 films of the modern era in fact are composed for 1:85 to accomodate for the full-screen video culture that still permeates most people’s viewing habits. That’s why when you see a full screen DVD nowadays or TV version of a 2:35 movie you rarely see as much panning and scanning because the info has been kept in the centre of the frame.”
Actually most modern 2.35:1 movies are shot in Super 35, which has extra headroom top and bottom to remove the need for panning and scanning. The downside of this can be a loss of resolution, meaning many Super 35 movies can look fuzzy and blurry in theaters if not projected carefully (at least in my experience). In any case, it’s not the aspect ratio that’s important, but the use of the frame. There are many movies that are shot in 2.35:1 for no good reason (why on Earth are some Farrelly Brothers movies or Adam Sandler vehicles shot in Cinemascope?), but on the other hand, directors like Spielberg or Tim Burton know how to use the 1.85:1 ratio to great effect. Look at Saving Private Ryan or Sweeney Todd, for example, and there’s an almost painterly quality to the framing that would be lost in the wider ratio. Not all directors these days know how to use Cinemascope to it’s best advantage (Ridley Scott, Wes Anderson, and Michael Mann are some notable exceptions), and i’d like to see 1.85:1 used a little more often personally.
Oh, I believe it. In the filmmaker’s commentary on the DVD, they say you miss about (I can’t remember the exact amount they said) 20% of Egon doing random stuff in full frame because he was usually the one they put on the edge of the frame when they’re walking.
That was to Nicol, if you couldn’t tell.
And think about how crappy Citizen Kane is, because that was shot SQUARE!
But I do think 1:85 is the best measure for film. Better for close ups, but still wide enough to get a nice vista. Guillermo Del Toro mostly uses 1:85 as well. Who cares what format they shot Bankok Dangerous in, some of the most visual directors out there are using 1:85. Better sense of height as well.
Actually, I found an interview with Del Toro where he says why he prefers 1:85. I agree with him.
DEL TORO – Why 1:85? I believe
“Actually most modern 2.35:1 movies are shot in Super 35,…”
I do not know what the exact number of Super 35 is to actual scope but yes there certainly are plenty of them. I think it was James Cameron with T2 and True Lies that actually started making Super 35 more popular. I think you can even find an interview with him where he says he prefers the full screen version of The Abyss to the wide screen matted theatrical.
Joe,
Yes…seeing Ghostbusters full frame vs. widescreen is really night and day. Most of the compositions contain all four characters so that you are always getting interplay and reactions of the group. In the full frame, more often than not, the focus is on Murray.
There have been very few beautiful 2:35 films for that very reason Nicol, at least in the last decade or so. That 1:85 ratio is currently the sweet spot due to it be only slightly wider than widescreen tvs (which are 1.78) and still composes OK down to 4:3 tvs. Unfortunately with 16:9 locked in as the ratio for who knows how long, the only good place to see 2.35 will continue to be theaters. And with VOD, etc. theatrical is not the must-see it once was.
I hate 1.85; it’s a bastard compromise between 1.33 and ‘Scope, and ends up being a fat lotta nothing.
We ran Mann’s MAN OF THE WEST last week at Cinecon; the only ‘Scope movie in a weekend that was otherwise 1.33. (We were honoring Walter Mirisch.) Even this highly-specialized crowd, which seldom watches anything made after WW2, was mightily impressed by how remarkable the compositions were, even those handful who’d seen it letterboxed on TCM.
Sadly, slop-spacing still exists today, but in this case it’s less deliberate than it is directors and DPs who haven’t got a clue how to frame a shot in an interesting way.
Bob, if you’re talking about The Godfather, read this:
http://www.ascmag.com/magazine_dynamic/May2008/PostFocus/page1.php
If you’re talking about the Kurosawa, never mind.
I’m a bit surprised that no one is talking about this. Is it because everyone has seen GFI and II too many times to give a shit, or are you all waiting for the Blu-Ray?
Thought this might be of interest to some…it’s a petition that just started circulating. Hopefully not too off topic as this is byob section.
Please take the time to sign and help circulate this petition! The simple act of emailing/posting it helps build awareness that the McCain campaign is “hiding” her from direct questions.
Thanks in advance for any support you can provide.
To sign this petition, please click this link:
http://www.PetitionOnline.com/B9AE83R/petition.html
Text provided below:
Dear Senator McCain, Governor Palin and McCain campaign advisers:
We request you provide the citizens of the United States with the opportunity to see Governor Palin interviewed by a variety of news media outlets. [click link above to see full letter]
The Godfather “was photographed to be projected in theaters at 1.85:1. Like almost all films of that intended aspect ratio, the movie was shot using the full 1.37:1 camera negative, with the top and bottom masked off during projection. The original ‘Full Frame’ VHS and laserdisc simply lifted the masking, exposing additional unwanted picture above and below the frame line.”
Cranky Grandpa, this is for you:
http://www.hometheaterforum.com/htf/3340586-post39.html
Yeah, yeah, yeah Frank, I saw that. Take this:
http://www.emanuellevy.com/article.php?articleID=11076
For 1.85 or 2.35, it really depends on how the director deploys the ratio. I firmly believe that some directors think that 2.35 is a sign of a real movie. Bridget Jones’s Diary was 2.35 for example and it added absolutely nothing to the story telling.
Fincher uses it briliiantly, Scorsese didn’t go near it until Cape Fear, Kubrick only used it once and Godard took the mickey out of it in Une Femme et une Femme.
I really like the opportunity it affords, but like car keys, it should not be given to some immature inebriate.
Oh, my God, is ANYONE watching this Lyons-Mankiewicz BASTARDIZATION of AT THE MOVIES?????
It’s stilted, awkward and cheap-looking, like some weird 1977 relic that would play at 3am before the station would go off the air; Byron Allen wouldn’t be out of place amidst the puff-piece, softball lameness. Even the backdrop is ugly… Lyons is tooly but at least enthusiastic. Mankiewicz is boring and seemingly not-ready-for-primetime.
What’s the point of this “critic’s roundtable” where three OTHER critics chime in via satelite? And what’s a real critic like Wesley Morris doing there?
Just sad and depressing.
Ben Lyons’ hotness OWNS !!!
The terribly pedestrian taste of female moviegoers has just trumped the terribly pedestrian taste of male moviegoers and finaly made one of my summers box office predictions true.
Mamma Mia has become Universal’s highest grossing summer release.
This weekend was the slowest in 4 years. Variety blames the NFL. I blame Tropical Storm Hanna, which killed moviegoing along the East Coast. Even the megaplex where I saw “Transsiberian” had a sign in the box office to warn the power could go off.
MGM is distributing “Vicky Cristina Barcelona”; the Lion figures the overall market is too slow to warrant a wider release.
Or one could blame the movies. Nothing worth seeing, so nothing was seen.
Bangkok Dangerous was strangely boring, especially from the masters who gave us THE MESSENGERS which TOTALLY OWNED, YEP YEP.
Plus the one dude’s name is OXIDE. How much does that OWN? “HI, I’M OXIDE.” Fuck yeah. If my name was Oxide, I’d spend all my days off being awesome and telling people that.
But one good thing about Bangkok Boring is the sidekick’s Thai girlfriend THAT CHICK OWNED.
The Messengers is pretty mediocre, I can’t really call it bad because it was just too safe and middle-of-the-road boring.
Lex, nobody is stopping you from renaming yourself Oxide G.
The Messengers seems tailor made for teenage girls…not very scary but “seems” scary.
I’m trying to remember who it was (I’m having memories of either Pedro Almodovar or Brian de Palma), but there was a director who I read in an interview say they deliberately frame their movies so that if they’re watching in pan and scan (or square) they’re unwatchable with characters routinely placed at the very edge of frame and the stuff like that.