MCN Originals Archive for May, 2015

Cannes You Dig It?: Episode 2 – Amy

Amyis more than a great doc. It is a shot to the solar plexus… I imagine, even more so for those of us who cover Hollywood or celebrities than anyone else outside of her personal friends.

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Cannes You Dig It?: Episode 1

It’s been an interesting start to this year’s annual family reunion. Some inspired filmmaking, but aside from the most commercial movies here – Mad Max: Fury Road and Inside Out, both playing out of competition – there is a distinct lack of greatness worth fighting about into the night.

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Cannes Review: The Lobster

It’s not that The Lobster is particularly difficult to crack—it’s that there just may not be enough meat inside once you do.

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From Cannes, 90 Seconds Of HATEFUL 8

Impressions: they’re hard and probably reductive, especially when we’re only given 90 seconds. I realize now that I wrote none for Tarantino’s film, because I was glued to the screen for as much information as possible.

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Cannes Review: The Tale of Tales

Based “loosely” on 17th-century short stories by Giambattista Basile, Garrone appropriately follows up his 2013 Cannes Grand Prix winner Reality with, well, a fantasy: unlike all other Competition films this year, The Tale of Tales comes from the fairy realm, and it’s a collection of narratives that are bizarre, moralistic, and often visceral.

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Wilmington On Movies: Maggie

Maggie (Two and a Half Stars) U.S.: Henry Hobson, 2015 Arnold Schwarzenegger hasn’t made many movies you could describe as art films, and that may be one of the reasons his new picture, Maggie, seems like such an anomaly. It’s at least half of an art film — an attempt at a sensitive genre piece that‘s…

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Predicting Cannes

For the last three years I’ve tried to take an educated guess at which of the usual suspects Cannes would be court for their annual Competition. In 2013 and 2014, my festival math worked out. Over the past decade, more or less 75% of the films annually vying for the Palme d’Or were by returning auteurs.

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The Weekend Report

The chase wasn’t on and Avengers: Age of Ultron easily took session viewing honors with an estimated $78.3 million. Although it had a clear field the sole wide release Hot Pursuit sputtered to $13.2 million in second spot. It was nonetheless a bonanza when put alongside the $437,000 bow for the homecoming comedy The D Train that bowed in 1009 locations. Exclusive bows provided a string of encouraging but not quite boffo results including the biopic Saint Laurent with $35,200 and the adaptation of the bestseller The 100-Year Old Man Who Climbed Out the Window and Disappeared grossing $32,400. Other exclusives included docs I Am Big Bird and The Seven Five and the epic restoration of The Apu Trilogy.

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Friday Box Office Estimates

The drop of Avengers: Age of Ultron from the number everyone was talking about last Saturday, $82 million or so, is 74%. But taking away the Thursday previews from that number, the actual number for Friday was $57.8 million, which makes the Friday-to-Friday drop just 63%. This Friday is $7.8 million off the second Friday gross of the first Avengers and the $85 million weekend estimates currently floated would suggest a Friday-to-weekend ratio of just under 4x Friday, when the history suggests a maximum of 3.5x, making $75m is about the max. And Hot Pursuit was neither hot nor pursued.

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Wilmington on Movies: Hot Pursuit

Reese Witherspoon and Sofia Vergera play two gals on the run in South Texas in the new movie Hot Pursuit: Reese is a diminutive fussbudget blonde by-the-book cop named Cooper and Sofia is a statuesque sexpot drug cartel wife named Daniella Riva. And they’re so much better than the movie itself that you wonder if the two costars might be deliberately outshining their own vehicle. Watching this nitwit show (as Todd McCarthy accurately described it), I wouldn’t put it past them.

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The DVD Wrapup: 50 Shades, Selma, Mr. Turner, The Nun, Snuff and more

Although some of the lovemaking is inarguably sensual, the contract-negotiating scene is the only one that rivals the best passages choreographed by Adrian Lyne in 9½ Weeks or in such classics of the sub-genre as Belle du Jour, Secretary, Crash, The Story of O or The Image. As difficult as it is to take potshots at a picture that’s made more than a half-billion dollars in worldwide distribution or might match that in DVD/VOD/Blu-ray revenues, I still think we have a long way to go before mainstream audiences are allowed a real taste of non-generic eroticism,

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Wilmington on Movies: Welcome to Me

Welcome to Me suffers from personality disorder too: an inability to tell all these potentially funny jokes with the joyous buffoonery that would make them ignite on screen—say, to explode with some of the wild devilish relish that an old-fashioned make-‘em-laugh comedian like Red Skelton put into his classic media satire: the ‘40s mock radio commercial for “Guzzler’s Gin.” (“Smooth! Smooth!”)

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The Gronvall Report: Zazu Urushadze on the Oscar-nominated TANGERINES

As has been the case historically over millennia, in Tangerines language, ethnicity, land, and religion are significant factors that trigger and fuel combat.

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Wilmington on Movies: Avengers: Age of Ultron

What should I say about Avengers: Age of Ultron? Is it too much of a good thing? Maybe. But consider the possibilities that stretched before it, as well as all the doors that were already closed when all the deals were struck.

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The Weekend Report

Avengers: Age of Ultron arrived with kapow! results estimated at $186.4 million and rank it as the second biggest domestic box-office debut of all time. The film also accounted for roughly 82% of the session’s total gross business. Exclusive newcomers provided encouraging results of $52,400 for Albert Maysle’s penultimate portrait Iris, at five sites, and a $37,200 tally for the offbeat comedy Welcome to Me at two screens. More dynamic was the Hardy bow of Far From the Madding Crowd with almost $170,000 from 10 hayfields.

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Friday Box Office Estimates

Avengers 2. About $2 million more on opening day (with Thursday previews) than the first. $287 million already counted internationally. Likely to be #1 all-time worldwide opening, though until this weekend, there have only been 14 ever taking in over $300 million, the earliest being 2005’s Star Wars: Revenge of the Sith and Furious 7 just opened to $398 million. No other film is likely to draw more than $7 million domestically this weekend. Searchlight’s 10-screen release of Far From the Madding Crowd should take about $15k per-screen to lead limited releases.

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The DVD Wrapup: The Gambler, Wedding Ringer, Boy Next Door, Paddington, Eddie Coyle, Wolf Hall and more

Bennett isn’t as much a degenerate gambler as one who refuses to win, even when he’s holding a pat hand. No matter how much he’s up, everyone from the pit bosses to viewers knows he’s going to give it all back and borrow even more money to keep losing. When he convinces his beleaguered mother (Jessica Lange) to give him a small fortune in cash to pay off the debts, everyone, including Mom, knows he’s going to piss it away.

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MCN Originals

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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