April 24, 2024
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
My kids are 12 and 6 and I have seen my fair share of animated movies. The Addams Family is easily one of the worst wide release kids movies I’ve ever seen. Even calling it a movie is generous. It runs for about 70 minutes before the extended credits complete with theme song kick in. Granted I’m glad it’s short because it’s so bad but also it’s highway robbery to charge full price for something that’s at best half a movie. So bizarre. It looks as cheap as those weird animated movies that drop on Netflix out of nowhere. Threadbare story. Not a single decent laugh. As uninspired and lazy as any animated movie I’ve seen. So bad.
Continuing the recent Netflix series of mid-budget genre movies after In the Shadow of the Moon and In the Tall Grass, gave Fractured a watch last night. And I kind of liked it. My favorite of the three. Longtime Brad Anderson fan and it’s a fairly taught little thriller. Nothing earth-shattering, and I have no idea what kind of American accent Sam Worthington is trying to pull off, but it felt like something a major studio would have released 15 or 20 years ago with Kurt Russell or Kevin Costner as the lead. A real throwback vibe in mostly good ways. And less than 100 minutes. Not bad.
I loved Parasite. Definitely a must-see.
Opens November 1 in Milwaukee. Can’t wait.
This film blew me away – I need to see more of Bong’s films….
https://youtu.be/2k4K7B81M_I
Martin Scorsese’s “Street Scenes 1970.”
An indispensable political/cultural artifact.
And a reminder what a brilliant doc filmmaker Scorsese has always been.
Parasite is out, JoJo and Lighthouse drop this weekend, love the warm embrace of October, now if any of those three would just play anywhere near me.
Second that Hcat. I know we get Parasite November 1. Not sure about the other two. Can’t find much about their expansion.
Have seen a few TV spots for The Current War this week. Sort of amusing that they are selling it as The Director’s Cut. That will pack them in!
I’ve been avoiding reading about “Parasite” ahead of seeing it next weekend, but this morning I saw the trailer for the film ahead of “Joker.” I don’t know what I was expecting – and I don’t really trust trailers to give me a good sense of what I’m going to get from the overall film – but it’s one of the better trailers I’ve seen lately.
Oh, and “Joker” is much better than I thought it would be. Guess I better go find the recent dedicated “Joker” thread to discuss.
The trailer withholds. That is all.
I’m guessing this is the new thread for posting…whatever, not just “Parasite” comments (esp since “P” is currently out of so many commenters’ grasps).
Caught up w/ “The Art of Self Defense”–like most
non-mainstream films, it never played anywhere near
me–and was floored by how good it was: a bilious, scathing indictment of toxic masculinity and even laugh-out funny in places.
Alessandro Nivola gives a career performance that deserves to be remembered at awards time (one of my favorite critics’ cliches, lol), and Jesse Eisenberg and Imogen Poots are terrific, too.
I put it on after staggering home last night from “Maleficent 2” in a narcoleptic stupor, and it definitely woke me up.
As a fan of the 2014 Angelina Jolie starrer, I was really bummed. There’s such a surfeit of CGI that it was like choking on pixie dust.
Jolie and Michelle Pfeiffer are fine (of course), but sidelining both of them for extended periods of time was a disastrous miscalculation. Especially since none of the other characters/story threads are remotely compelling.
It deserves the same ignominious fate as Disney’s woebegone “Alice in Wonderland” sequel.
I know I’m beating a dead horse here but 3 FROM HELL is the laziest and most aimless thing RZ has made thus far. I didn’t think he could get worse than 31 but he did. The whole grindhouse act has worn out and unless he starts working with a real writer he needs to stop.
Every line Otis says is some variation of the same idiotic bullshit. “Don’t talk to me about hell! I AM hell.””This ain’t your death factory! This is MY death factory! “Don’t Tell me how to make slow cooker chili! I AM slow cooker chili!” Lazy garbage. I gave him yet another chance and he’s just regressed as a filmmaker. Tedious junk.
I need some good new horror for a Halloween but can’t find it. Luz, Bliss, The Furies, Belzebuth, Hellhouse 3 all let me down. Not asking for much.
We need a vampire revival, BTW.
I’ve heard nothing but horrible things about 3 From Hell and have no interest in it. Zombie is a terrible director. I know some people who go to bat for Devil’s Rejects or RZ’s Halloween II but he is a hack. Yes he loves horror and seems like a pretty smart guy who knows & appreciates the genre, but his movies are garbage. His writing is just atrocious and tedious junk describes almost everything he’s done. I found Lords of Salem mildly interesting but Sheri Moon is an awful actress.
I liked The Furies and Belzebuth. Not masterpieces but I was glad I watched them. I’m looking forward to checking out Little Monsters, Trick, Sweetheart, and Wounds. Also Satanic Panic and Bliss since I’ve heard mostly good things about them. But this is a weak October for wide release horror.
Am very late to the party, but Crawl came in the mail last night, halfway through and I am loving it. Tense and tightly wound, meaty little programmer. Started it too late on a worknight so I am doing the last thirty minutes tonight and looking forward to it.
On the flip side of that, watched Climax earlier this week, and its the complete opposite, shambling and at times incoherent, nasty for nastiness sake, and since it didn’t really follow any plot line, nothing that happened was much of a shock since everything was being thrown at you anyway. The first half with the dancing is hypnotic and compelling, but once the descent happens it is not really worth watching. As soon as the movie goes to hell, the movie goes to hell.
Agree on both counts. Crawl is a blast. Will definitely revisit it soon. Climax is one of the worst movies I’ve seen this year. I was bored beyond belief. As with Joker I kept expecting to be shocked or provoked somehow and instead could barely keep my eyes open.
Oh and AHS: 1984 has been a lot of fun and great seasonal viewing. We’ll see if they can keep it up for another half a season.
Hcat you nailed it with CRAWL. It would be Best Picture winner if all movies were about killer alligators. It’s as good as it could possibly be, and makes the right choices with the beasties. They aren’t intelligent or have character or a leader. They’re just hungry animals. Loved it.
I also loved CLIMAX in that i was genuinely absorbed and upset by the experience. Not the biggest Gasper Noe fan but I like this more than irreversible. I might be on my top 10 list. Different strokes, etc etc
I bet Scorsese digs Crawl. (PHBFFFFFLLLT)
Bill, I would agree that the first half was absorbing, and I thought the second half would build on it, work the motion of the bodies into it. But instead it was a lot of walking around. It was wonderfully shot, very disorientating, and yes upsetting, but I thought he set the table wonderfully, gave us a wonderful predinner conversation and then served us a boiled pigs head. I have never seen a clumsier execution of the Chekov rule, you absolutely know what’s going to happen in that closet, so when it does it is no way tragic but just another beat hit.
But I do do this where I criticize it for not being the movie I wanted rather what was there.
Was pleasantly surprised by “Double Tap:” I actually think it’s the rare sequel that surpasses the original.
Still can’t believe they reunited the entire cast 10 years later (including Bill Murray who has a delightful–and fairly extended–closing credits bit).
And the additions–especially Zoey Deutch and Rosaria Dawson–are pretty swell, too.
Lots of fun.
Not liking what a movie is is fine. There are always expectations and when they’re not met you don’t like it. The whole “judge the movie they made, not the one you wanted” is, I think, kind of a fallacy. So I dig it,
Got tickets for The Lighthouse next Sunday. So excited! My daughter is too. Girlfriend is passing on this one. “It does not look appealing” she said and I like her honesty. We’re all gonna see Double Tap though.
Is The Lighthouse in the Chicago area now or expanding next weekend? Hopefully that means Milwaukee is soon. Watched Wounds last night. Love Under the Shadow. Sadly this isn’t as good. Just OK.
A person of consequence told me last night that he understands Episode 9 is doing reshoots again after the latest cut(s) tested for shit. At 64 days out? Can this be true?
https://www.reuters.com/article/us-film-joker-stairs-idUSKBN1WY0H2
Hustlers crosses the century mark.
Parasite crosses $1m in limited after just barely a week.
Jojo Rabbit coming on strong.
They Wait Hours to Be Shocked – The New York Times
http://www.nytimes.com/1974/01/27/archives/they-wait-hoursto-be-shocked-the-exorcist...
This NYT article from January 1974 was a delightful nostalgia trip.
I’m guessing the “Bill Hurt, 23, drama student” who’s quoted in the piece became “William Hurt, Oscar-winning actor.”
Little Monsters is fun. Lupita Nyong’o and Josh Gad are great. Some pretty nasty gore. Lots of laughs. Good times.
A STAR WARS movie being previewed??
“A person of consequence told me last night that he understands Episode 9 is doing reshoots again after the latest cut(s) tested for shit. At 64 days out? Can this be true?”
The Force Awakens was being reshot and adjusted up to the last minute too. In fact, you could argue that the ONLY Star Wars movies to have smooth productions were Revenge of the Sith and -yes!- The Last Jedi. How ’bout that?
Stella, The Lighthouse is playing at the Regal Stadium 17 just outside of Aurora. About 30 minutes from me. I go there a lot. It’s the best place to catch small releases and foreign films for me
Light on library DVDs this weekend, so I decided to get some bang for my Netflix bucks.
Enjoyed them all.
“The Laundromat” is minor Soderbergh, but still immensely pleasurable. It’s not, however, another “Big Short.” Or “The Informant!”
“We Have Always Lived in the Castle” has great atmosphere and a committed cast (including a relatively restrained Crispin Glover). Another impressive film for director Stacie Passon.
“Ramen Shop” appealed to the foodie in me even though it’s pretty lightweight overall.
Was totally engrossed by Brad Anderson’s “Fractured” until the very end when it trades “Hitchcockian” for Shyamalan shark-jumping. But a very skillful genre exercise overall, and Sam Worthington solidly anchors the movie.
My favorite was a 2016 indie (“Band of Robbers”) that had been on my radar for some time: I just never got around to it.
Yeah, it borrows from early Wes Anderson and Coen Bros. (“Bottle Rocket” and “Raising Arizona” especially), as well as “Good Time Soderbergh.” I even noticed traces of Soderbergh guru Richard Lester. But what 21st century movie doesn’t have a ton of quotation marks around it? (I’m looking at you, “Joker.”)
Surprised the brother directing team, Aaron and Adam Nee, haven’t been seen from since (Adam is a terrific actor as well, and should at least have his own Netflix series by now).
Hoping their Sony “Masters of the Universe” movie w/ Noah Centineo comes off and delivers on the promise of “Robbers.”
Planning to watch their one previous film (2006’s “The Last Romantic”) on Amazon. Apparently it was never released on DVD.
Besides the Netflix streamers, I also saw a wild-and-wooly 1974 AIP blaxploitation movie (“Sugar Hill”) that’s also a pretty groovy zombie flick. The lead (Marki Bey) is great: she reminded me of a pre-Vanessa Williams Vanessa Williams. Sad that her screen career went nowhere. It’s the sole directing credit for Paul Maslansky who went on to become something of an uber producer.
And watched the (pretty much in name only) “Jacob’s Ladder” reboot which is better than its rep. Sure, it’s a little confusing at times, but so was the 1990 original (which, truth be told, I never loved). Michael Ealy has really grown on me: he’s pretty solid here.
1 N Maleficent: Mistress of Evil BV $36,000,000 – 3,790 – $9,499 $36,000,000 – 1
2 1 Joker (2019) WB $29,205,000 -47.7% 4,090 -284 $7,141 $247,229,004 $55 3
3 N Zombieland 2: Double Tap Sony $26,725,000 – 3,468 – $7,706 $26,725,000 $42 1
4 2 The Addams Family (2019) UAR $16,057,007 -47.0% 4,102 +95 $3,914 $56,816,034 – 2
5 3 Gemini Man Par. $8,500,000 -58.6% 3,642 – $2,334 $36,516,543 $138 2
6 4 Abominable Uni. $3,500,000 -42.4% 2,647 -849 $1,322 $53,915,070 $75 4
7 5 Downton Abbey Focus $3,080,000 -36.9% 2,258 -761 $1,364 $88,612,460 – 5
8 7 Judy RAtt. $2,055,975 -36.4% 1,418 -209 $1,450 $19,018,113 – 4
9 6 Hustlers STX $2,050,000 -47.3% 1,575 -782 $1,302 $101,871,912 $20 6
10 8 It: Chapter Two WB (NL) $1,505,000 -52.0% 1,528 -775 $985 $209,659,518 – 7
11 15 Parasite (2019) Neon $1,241,334 +223.1% 33 +30 $37,616 $1,821,976 – 2
12 9 Jexi LGF $1,215,000 -60.9% 2,332 – $521 $5,734,684 – 2
13 10 Ad Astra Fox $838,000 -55.4% 796 -882 $1,053 $48,702,771 – 5
14 11 Rambo: Last Blood LGF $560,000 -62.7% 930 -901 $602 $44,082,166 $50 5
15 21 Pain and Glory SPC $463,532 +70.5% 67 +44 $6,918 $1,130,373 – 3
16 N The Lighthouse A24 $419,764 – 8 – $52,471 $419,764 – 1
17 N Jojo Rabbit FoxS $350,000 – 5 – $70,000 $350,000 – 1
So is Malicifient going to become another Disney title that makes it to 96 million in six weeks and they keep it in theaters two months after that to cross that last bit to the century mark? Will it magically cross that line the same day that Star Wars opens?
But still glad the wealth is spread around a bit with Jolie and Pfieffer getting scenery eating chances in an IP blockbuster. If they insist on making these, I am at least glad some of the money ends in the pockets of talented people.
What do people think the over/under on Parasite is? I can’t think of many comparables. The arthouse crowds are obviously loving the crap out of it, but honestly what at the chances of this being embraced by general audiences? I am sure they would be popping champagne if this landed in the $15 million neighborhood but given how strong this launch is I can’t help but think more might be possible. Sort of exciting not knowing where things are going to land two weeks into release.
I think Parasite has the ability to be a good midsize hit, possibly even hitting $100m if awards season plays out in its favor. Traditionally that hasn’t happened but it’s possible given the incredible WOM.
Sure, it’s hard getting Americans to see a subtitled film, but still, I think in raw entertainment value and also in WOM value, Parasite can overcome these challenges better than most.
In its history Neon has only had four movies play in more than 600 theaters. I’m assuming Parasite will be the fifth. How wide do they plan to take it? Their biggest grosser (by far) is I, Tonya with $30 million. Seems safe to say that Parasite will challenge that. Do they know what they’re doing with something like this? People have confidence they won’t mess up? I really have no idea what their rollout strategy is.
I don’t know if I have confidence that they can take this to 30 but I am certainly rooting for them. But Tonya was about a infamous event, starred an up and coming actress, and had a supporting role for a beloved television stars. I could recommend Tonya (or Ladybird) to my family and there is a chance they could see it, Parasite (or Lighthouse for that matter)seems like too much of a leap for them.
A24 seems pretty established at this point, NEON is chasing the same audience but still seems to be finding their feet. Hopefully this and the forthcoming portrait will give them the opportunity to prove themselves.
I think WOM is being underestimated. Sure 30 would be a huge triumph for a small foreign language film at a boutique distributor, but then again, I Tonya didn’t have great WOM so it survived off its nominations. Parasite is already killing it without any noms to speak of, so when it does get the noms (and I think it will), then 30 should be relatively easy.
What’s this “extended cut” of “Once Upon a Time…” opening Friday?
Does anyone know the particulars?
The original cut ran 161 minutes, and this expanded version runs 166, so clearly it hasn’t been “extended” that much. I’m more curious about the long-form “Hollywood” Tarantino hinted at in recent interviews.
Funny that some ‘plexes will be housing Tarantino’s “extended cut” and “The Current War: Director’s Cut” on the same marquee.
It’s like the 2006 home video section of Best Buy.
In August there were stories about a four hour-plus cut of the movie. In September there were stories about a miniseries version similar to what he did with Hateful Eight on Netflix. But I can’t find anything about an extended cut opening Friday. Most recent stories I found are about the China release cancellation.
For what it’s worth my 16 year old daughter is stoked for PARASITE. Bu she has be raised correctly ( good father 🙂 and she is really into challenging movies. She can’t wait to see The Lighthouse and was talking A24 last. I gave her a list of horror films and she’s been going through them. mother! Rosemary’s Baby, Green Room, Oldboy, Baby Jane, The Wailing…many more. She has declared Midsommar as he favorite film of all time, which whether you like the movie or not, shows adventurous taste .
She is thinking about film school. Or mortuary school. She is an awesome kid.
You did good. Calling a recently released movie your favorite of all time is definitely a young person’s thing. But it sounds like she’s well on her way to explore the treasures of film.
Sweetheart is a really good creature-feature. Great use of the isolated location. Very atmospheric and I like how even this beautiful place is creepy during broad daylight. Cool creature and good special/visual effects especially considering the budget. Strong lead performance from Kiersey Clemons. Swift 80-minute running time. One of the highlights of October horror viewing.
Why is a version of Once Upon a Time… with four extra scenes being released three months after its initial release?
“I think Parasite has the ability to be a good midsize hit, possibly even hitting $100m”
I really love how much you love PARASITE and believe in it… but this is utterly insane. It will be lucky to get to 50 with A Best Picture/Director nomination… and honestly, it will need to be rereleased at that point… so yeah… 30 million is the limit.
BTW– I, TONYA had great WOM amongst younger demographics and some really savvy marketing campaigns (what’s up MoviePass…)
The Favourite only got to 34 million last year and that was a critical and art crowd favorite (plus movie stars!) from a distributor who has gotten some offbeat projects into the race and past the finish line. I would be shocked if Parasite can get near that, though it would be a pleasant surprise.
I do not recall, was Crouching Tiger dubbed for its wide release?
Bill, when I was growing up the two professions my dad steered me to was pharmacist or Funeral Home director. He thought those were both secret goldmines you could go anywhere in the country with (this was before the CVS on every corner). I makes me smile that her current career choices are ones at completely different ends of the spectrum for career stability.
On a thousand screens!
Hcat, The Favourite is actually a pretty good comparison. Would you believe me if I told you that Parasite is running AHEAD of The Favourite if you compare it at the same point in its run!! (For context, both have a similar release pattern in terms of numbers of screens, so it’s not that Parasite is on more screens, actually it’s on less.)
That’s right. With no stars and in a foreign language and with a tiny distributor, Parasite is outgrossing The Favourite. How is that possible except for the fact that the movie is appealing to people in a different way. It’s appealing not on star power but on content, on the actual movie and how it makes them think and feel, which means Word of Mouth will make this thing go farther than other critical darlings.
In other words, some critical darlings are also audience darlings too, and Parasite is one of them. Maybe $100m was too outlandish, but I think it will pass The Favourite.
I don’t recall Crouching Tiger being dubbed. I just think it was what the audience wanted to see, and the fact it was in a foreign language didn’t prevent that. It takes a special kind of movie to break through in that way, and I think Parasite has the potential to do that.
I’ve seen people comment that in its home country Parasite is a completely mainstream movie. Maybe that speaks to its potential to really breakout here. Still curious how wide Neon will go with it. The Favourite was in more than 1,500 theaters at one point.
To be fair though, in its home country Parasite contains a movie star. I don’t want my natural pessimism to sound like I don’t believe in the film, I hope it the best and its not that I don’t have faith in the title or distributor its that I don’t have faith in the greater moviegoing public. Even if there was some sort of bait and switch that would allow them to Black Swan this and say this is a horror movie or other incentive to get butts in the seats I would be more optimistic. But the only sell on the material is that it is a critically revered foreign film about class. Those are not positives with 95% of the people who flocked to the Lion King.
But from all the praise I would be surprised if it was not nominated, which would be a wonderful victory no matter what the end gross will be.
I think they are accurately marketing it as a thriller, one that has amazing plot twists. Isn’t that genre enough?
Speaking of genre, Mojo has been altered so now you can’t look up BO performance by genre. I was gonna look up how “thrillers” did, but it seems that info is now locked up somewhere. Thanks, Amazon.
They put the studio standings behind the paywall as well. Fox, Mojo, Democracy…all the things I love are being bastardized.
Just found the info on Wayback…but you can only see old versions of the site. So nothing new will ever get added…Boo. Still at least you can revisit the good old days of yore.
Mojo isn’t providing PSA anymore. That sucks.
1 2 Joker Warner Bros. $18,900,000 – 3,936 -154 – $277,583,522 4
2 1 Maleficent: Mistress of Evil Walt Disney Studios Motion Pictures $18,537,000 – 3,790 – – $65,412,158 2
3 4 The Addams Family United Artists Releasing $11,705,007 – 4,102 – – $72,800,705 3
4 3 Zombieland: Double Tap Sony Pictures Releasing $11,600,000 – 3,468 – – $47,000,273 2
5 – Countdown STX Entertainment $9,009,000 – 2,675 – – $9,009,000 1
6 – Black and Blue Screen Gems $8,325,000 – 2,062 – – $8,325,000 1
7 5 Gemini Man Paramount Pictures $4,000,000 – 3,008 -634 – $43,342,413 3
8 15 The Lighthouse A24 $3,080,782 – 586 +578 – $3,661,269 2
9 – The Current War: Director’s Cut 101 Studios $2,730,200 – 1,022 – – $2,730,200 1
10 6 Abominable Universal Pictures $2,000,000 – 2,196 -451 – $56,819,495 5
11 7 Downton Abbey Focus Features $1,900,000 – 1,658 -600 – $92,206,630 6
12 11 Parasite Neon $1,819,784 – 33 – – $4,107,294 3
13 8 Judy Roadside Attractions $1,181,830 – 1,131 -287 – $21,515,206 5
14 17 Jojo Rabbit Fox Searchlight Pictures $1,041,000 – 55 +50 – $1,500,424 2
15 – Housefull 4 – $880,000 – 315 – – $880,000 1
16 – Jesus Is King IMAX $830,000 – 372 – – $830,000 1
17 – Western Stars Warner Bros. $560,000 – 345 – – $560,000 1
18 33 Once Upon a Time in Hollywood Sony Pictures Releasing $550,000 – 1,674 +1,599 – $140,422,518 14
19 22 Scary Stories to Tell in the Dark Lionsgate $530,000 – 219 – – $68,707,487 12
20 16 Pain & Glory Sony Pictures Classics $430,097 – 117 +50 – $1,685,400 4
21 13 Ad Astra Fox $292,000 – 325 -471 – $49,329,567 6
22 9 Hustlers STX Entertainment $270,000 – 914 -661 – $102,974,862 7
23 28 Jay and Silent Bob Reboot Saban Films $219,397 – 17 +16 – $1,570,700 2
24 14 Rambo: Last Blood Lionsgate $210,000 – 930 – – $44,538,786 6
25 19 The Lion King Walt Disney Studios Motion Pictures $163,000 – 199 -126 – $543,204,133 15
26 21 Linda Ronstadt: The Sound of My Voice Greenwich Entertainment $144,677 – 134 -13 – $3,775,509 8
27 12 Jexi Lionsgate $132,000 – 2,332 – – $6,451,922 3
28 20 The Peanut Butter Falcon Roadside Attractions $115,420 – 166 -82 – $20,078,951 12
29 25 Angel Has Fallen Lionsgate $68,500 – 168 – – $69,006,641 10
30 29 Toy Story 4 Walt Disney Studios Motion Pictures $66,000 – 121 -24 – $433,808,240 19
31 41 Fantastic Fungi Area 23a $60,867 – 14 +5 – $284,589 6
32 27 Fast & Furious Presents: Hobbs & Shaw Universal Pictures $53,000 – 114 -73 – $173,785,585 13
33 30 Where’s My Roy Cohn? Sony Pictures Classics $51,725 – 51 -15 – $582,369 6
34 24 Good Boys Universal Pictures $50,000 – 113 -77 – $83,600,105 11
35 – No Safe Spaces Atlas Distribution Company $45,236 – 1 – – $45,236 1
36 45 Official Secrets IFC Films $25,427 – 34 – – $1,947,885 9
37 – Downtown 81 2019 Re-release
– $25,000 – 1 – – $25,000 1
38 – Frankie Sony Pictures Classics $22,941 – 4 – – $22,941 1
39 61 Cyrano, My Love Roadside Attractions $11,200 – 18 +15 – $321,686 38
40 47 47 Meters Down: Uncaged Entertainment Studios Motion Pictures $9,364 – 25 -74 – $22,249,924 11
41 50 Immortal Hero Freestyle Releasing $9,214 – 9 -3 – $35,209 2
42 59 By the Grace of God Music Box Films $8,448 – 6 +4 – $19,603 2
43 49 Monos Neon $8,300 – 40 – – $392,631 7
44 43 Miles Davis: Birth of the Cool Abramorama $8,270 – 11 -7 – $591,476 10
45 35 Lucy in the Sky Fox Searchlight Pictures $6,000 – 35 -196 – $313,999 4
“Mojo isn’t providing PSA anymore. That sucks.”
Interesting, MM. The site looks like it has a new layout, no? I see a box atop it that says “estimated”; is there a way to get actuals? Clicking the box doesn’t do anything. The site used to have separate entries for weekend estimates and weekend actuals, with “actuals” put in parenthesis in the more recent weekly link to distinguish which was which.
Also, there appears to be a column for “Average,” but nearly every film has a “-” where we’d expect to see numbers. I write “nearly” because when I clicked on “Average,” it pulled to the top the results for “My People, My Country,” which show a per-screen of $446. No other film has an entry in that column.
They traditionally post “weekend actuals” on Mondays, Christian.
Sunday is for “estimated” weekend figures.
I hadn’t noticed the “Average” column.
I’ll have to check it out.
Yes, a new layout that’s less user-friendly than previously.
It was never “great,” but now it pretty much blows.
P.S.= I checked it. PSA’s ARE provided for a few titles, but not a whole lot of them. Conspicuously absent–at least on the “estimated” chart–are the weekend’s Top 10 movies.
I posted this to Ho-lyw-od Els-where yesterday, thinking I was on the Hot Blog! The Disqus login ahead of the post alerted me that something was amiss, but after I figured it out, I went ahead and posted there anyway because cutting and pasting on my tablet is such a pain. I’m now on my laptop, so here’s a cut-and-paste of that post!:
I saw and marveled at PARASITE over the weekend, and yet while I may revise my ratings on future viewings, the Bong comes in at only #3 among the films I saw at the Virginia Film Festival. Ahead of it, if just slightly – and again, I might change my mind on second viewing of either film – is WAVES. While PARASITE might have my head, I told a friend, WAVES has my heart. So much feeling/emotion to the latter, while the former is technically brilliant and precise.
But then I saw a movie that topped ’em both: A HIDDEN LIFE, which is just glorious. No amount of Malick nit-picking can change what he’s done here. What’s on-screen is for the ages – on a par, visually, with HEAVEN’S GATE (I’ll never forget watching the restored Criterion release of HEAVEN’S GATE in something like awe – and that was on a small screen!). When you get the chance, see A HIDDEN LIFE on the largest screen you can. It’s beautiful. And admittedly “slow” by mainstream standards – but you already guessed that if you know anything about Malick. That said, to my astonishment, I saw no walkouts during the 3-hour film. No one left. Not even for a bathroom break! (I was in the front half of the auditorium and can’t vouch for what happened behind me, but I didn’t hear anyone get up and walk out.)