Posts Tagged ‘I Am Love’

Tilda Talks Love

Tuesday, January 4th, 2011

Tilda Talks Love

MW on DVDs: The American, Cronos, I am Love … and more

Tuesday, December 28th, 2010


The American (Three Stars)

U.S.; Anton Corbijn, 2010 (Universal)

I like George Clooney. No off-color psychological speculations, please.

What I like about him is the easy-going “good guy” way he plays the Hollywood game. I like his politics, his philanthropy, his unpretentious smarts, his good-natured jock style, his taste in movie scripts, his daring as a director, his wry grin, his sense of fun and his sense of seriousness.

And I like the fact that he‘s a stunning-looking guy who can effortlessly get all the things available to stunning-looking guys — the ladies, the jobs, the laughs and whatever else — but that he doesn’t rub our noses in it, or act like he‘s always on the make, or pump himself up with vanity and vacuous self-regard. I like that he makes fun of himself, and even makes fun of the American obsession with stunning-looking guy s and gorgeous women and using your looks to get ahead. As Clint Eastwood likes to say about himself and his philosophy, Clooney takes the work seriously, but not himself seriously.

The American, Clooney’s latest movie, is a good example of Clooney’s work ethic and ambition, his Paul Newmanesque good-guy persona. It’s an eye-popping, laconic, dramatically perverse mix of art film and classy romantic thriller that deliberately tramples on the current norms and box-office formulas. Instead, it summons up memories of esoteric European suspense dramas like Melville’s Le Samourai and Le Cercle Rouge, and Antonioni‘s The Passenger, rather than the more obvious models you’d expect, like Bourne and Bond.

It’s a good film, beautifully visualized, a little self-indulgent maybe, and a little spare of script. Clooney‘s star role is as an assassin/gunsmith variously known as Jack, Edward and Butterfly, dodging bullets on a hideaway in the lush Abruzzi mountain country of Italy, and involved with several knockout ladies, a philosophical priest, and an impatient employer (some or all of whom may mean him harm). It’s an uncharacteristic minimalist job, fraught with tension and less heavy on the usual Clooney trumps of charm and personality.

Like Le Samourai, that classic neo-noir of the ‘60s with Alain Delon as a somber Parisian hit man, The American is about a perfectionist in murder whose world is coming apart and who (unwisely, perhaps) seems to fall in love. So the film begins with a botched attack and a startling rub-out and it stays tense and opaque, keeps mixing sex and menace the rest of the way.

During most of The American — a movie in which Clooney’s character fends off attacks, constructs a super-gun for another (female) assassin, engages in some very authentic-looking lovemaking and strolls around the hilly streets and chic shops of that Abruzzi village — Jack simply appears scared shitless or about to be. Or lost in some confused, apprehensive reverie. He looks as if something is sneaking up behind him — and it is.

The movie’s source is the novel A Very Private Gentleman, by Martin Booth, which is apparently less opaque, and less spare of story. And screenwriter Rowan Joffe (who is now at work adapting that classic British thriller Brighton Rock by Graham Greene), gives it the Harold Pinter strip-the-dialogue-to the-bone treatment. People say little and conceal their meanings and feelings, if not their private parts. But then how much is there to say when you’re in Abruzzi, ducking your boss (Johan Leysen as the sinister, corpse-like Pavel) pretending to be a photographer, walking around by yourself, or making a gun, or frenziedly copulating? I’d be mum too.

A lot happens in The American, and it happens very stylishly, thanks to cinematographer Martin Ruhe, designer Mark Digby, and director Anton Corbijn. Corbijn is the Dutch filmmaker and music video maker who made Control, that very stylish black-and-white bio-drama on front man/suicide Ian Curtis and Joy Division, and here he fills the screen with beauty and dread, the way Polanski and Hitchcock do or did, but somewhat less bitingly and with far less lacerating suspense.

We first see Jack in Sweden, my grandparents’ homeland, where we kibitz on a foiled hit that might be described as Bergmanesque. Then comes that Antonionian trip to Abruzzi and encounter with the lady killer, Mathilde (Thekla Reuten), a sub-Fellini interlude in the local bordello with a knockout local whore, Clara (played by the spectacularly beautiful Violante Placido, the daughter of The Godfather’s Simonetta Stefanelli, Michael Corleone’s bride), a somewhat De Sica-ish or Ermanno Olmiesque conversation on American existentialism in a graveyard with an elderly priest, Father Benedetti (Paolo Bonacelli), stark scenes of Melvillean samurai loneliness where the hatless Clooney channels Alain Delon, architectural beauties out of early Alain Resnais documentaries, and a final enigmatic shootout that suggests Sergio Leone hired as a gunsmith by elegant hit man Bernardo Bertolucci. (Both were involved in Leone‘s Once Upon a Time in the West, which Jack sees here on TV. A grand allusion?)

The American sometimes seems like a film festival disguised as a picturesque neo-noir thriller. But it’s a neo-noir that also plays as if it would rather be a psychological drama about alienation and personal collapse, and that keeps avoiding the violent paydays we seem to expect of our supposed “thrillers.” Despite those inviting Abruzzi mountain roads, for example, there’s no car-chase scene, not even one reminiscent of Dino Risi and Il Sorpasso, or of Fellini and La Dolce Vita — though, at one point near the end, Jack does drive very, very fast.

Who but Clooney could get away with something like this? Corbijn’s Control was bleak and sad, and this movie is so sparse, so melancholy, that Jack’s fiddling with the gun becomes a sort of action scene by default. The movie’s sex almost totally supplants the usual gunfights, which was fine by me. I saw three other movie shootouts the same day anyway.

Yet, lugubrious though it may seem to some, The American is not anti-American, no matter what Father Benedetti existentially mumbles in the graveyard. The presence of Clooney alone tips the balance in our favor. There is a specific pro-European bias that has always been part of American culture, and they (especially the French) have often returned the compliment — as indeed, Jean-Pierre Melville did in Le Samourai, The American‘s cinematic god father. The compliment is mutually exchanged here.

Want to see a beautifully-shot thriller, with beautiful people in beautiful surroundings? Here it is — despite a script that could be better and smarter, and too much fancy bleakness, and dialogue that could be sharper and wittier, and no car-chases in sight. It’s no Syriana. It’s no Michael Clayton. And it’s certainly no Samourai. But it looks like a nice working holiday for our pal George. He deserves one.



Cronos (Three and a Half Stars)

Cronos, a vampire movie for aficionados, was the first feature film of 28-year-old Mexican moviemaker Guillermo Del Toro. And it’s the fulfillment of a long-time dream. Where a lot of Del Toro’s classmates at film school in Mexico probably wanted to make films like the great Italian cineastes Fellini and Antonioni, makers of the classics La Dolce Vita, and L’Avventura, Del Toro — whose views of life and cinema were a little darker, more sinister, more stylishly loony — wanted to make movies like the great Italian horror-meisters Dario Argento, Mario Bava and Lucio Fulce, makers of Suspiria, Black Sunday and Zombie.

He did. The irony is that Del Toro, a jocular kid with artistic gifts from Guadalajara, achieved his dream and has already surpassed all of his masters — especially with his modern 2006 horror/art classic Pan‘s Labyrinth — whereas our chances of seeing a Mexican 8 ½, a Mexican Blow-up or even a Mexican Bicycle Thief seem still distant.

If we do see them, they will almost certainly be made by Del Toro’s two best movie buddies, Alfonso Cuaron (Y Tu Mama Tambien) and Alejandro Gonzales Inarritu (Amores Perros), the other two members of that celebrated, ultra-talented, genial and ingenious Mexican cinematic trio “The Three Amigos.“ (Friends for years, they hang out, swap ideas and jokes, and act as unofficial advisors on each other’s movies. Their joint company is called Cha Cha Cha Productions.)

Cronos, Del Toro’s first feature — which came out in 1993 and won the Cannes Festival International Critics Prize and a flock of Ariels (Mexican Oscars), including Best Picture, Best Screenplay and Best Director — is a vampire movie of unusual style and subtlety, with a superb cast, deeper-than-usual characterizations, brilliant twists on the usual horror movie clichés, and horrific images that brand themselves on your brain. (Cronos” nonpareil cinematographer, Guillermo Navarro, is Del Toro’s regular shooter, and Navarro won an Oscar for photographing Pan‘s Labyrinth.)

The star of Cronos is the legendary Argentine leading man, Federico Luppi, here playing a good-hearted, brainy and knowledgable Mexican antique dealer, Jesus Gris, who runs across an ancient device in his dusty shop — a sort of golden watch with wicked pincers — that grants you sort-of-eternal life, with the downside that it also turns you into a vampire, and requires you to drink blood and sleep in a coffin. (Among the movie’s unforgettable images: Jesus, starved and desperate, deliriously dropping to the floor of a seemingly empty men’s room and lapping up blood by a sink.)

Jesus, forced into a life style that doesn’t suit his true nature, his paternal benevolence, also gets on the bad side of two unscrupulous and thoroughly evil foes who want the cronos too: the rich and amoral De La Guardia (played by one of Luis Bunuel’s actors, fancy man Claudio Brook), and De La Guardia’s brutal factotum/son Angel (played by Ron Perlman, who was later Del Toro’s Hellboy). Jesus’ one great ally is the sweet little granddaughter he must protect and who tends his coffin, Aurora (Tamara Shanath, whose part looks ahead to the little girl visionary in Pan‘s Labyrinth).

What happens to these four is what usually happens in horror movies, but happens here with more style, drama and humanity. We believe in these characters as we believe in very few of the victims and/or monsters in the films of Del Toro’s idols and mentors Bava, Fulce and Argento. (Not that we have to, to enjoy their movies.) And the story affected me as I’m never touched by the current wave of chic megahit vampire movies, especially those Twilight teen swoonfests. (Not that I’m the right audience for them.) We know what Del Toro’s people think, how their hearts beat, how their blood streams. We know intimately their waking nightmares. When the cronos stabs them, we feel it.

Del Toro lavishes on these bloody fairytales, a sensibility and artistry — and a beauty and tenderness — that almost seems too much. But sensibility, beauty and artistry deserve understanding and/or applause wherever we see them. After all, even Fellini once made a horror movie (with Terence Stamp) of Poe’s Never Bet the Devil Your Head (or words to that effect) a.k.a. Toby Dammit. Pretty damned good, as I recall. Never got that bouncing head out of my mind. Ditto with Jesus’ coffin here. (In English and Spanish, with English subtitles.)

Extras: Commentaries by Del Toro and his Cronos producers; Del Toro‘s previously unreleased 1987 horror short “Geometria” (Three Stars); Del Toro‘s video tour of his offices, “Welcome to Bleak House“; Interviews with Del Toro, Luppi, Perlman, and Navarro; Trailer; Stills gallery; Booklet with Del Toro’s notes for “Cronos,” and an essay by Maitland McDonagh.


Le Combat de l‘Ile (Three and a Half Stars)

France: Alain Cavalier, 1961 (Zeitgeist)

In the politically volatile Paris of the early ‘60s, a divided nation run by De Gaulle and embroiled in the Algerian conflict, a wealthy industrialist‘s son and young right wing extremist named Clement (played by Jean-Louis Trintignant, of “Z“ and “The Conformist“) is assigned the job of assassinating a left-wing deputy, supervised by an older man, a longtime reactionary terrorist.

When the job is bungled and the conspiracy exposed, Clement goes on the run with his beautiful young ex-stage-actress wife Anne (Romy Schneider), hiding out at the home of his old school friend Paul (Henry Serre, the Jim of Truffaut’s Jules and Jim) who is now a left-wing pacifist, unaware of Clement’s extremism. There is a betrayal, another death plot — and, the main key to all the emotions we witness, a passionate triangle between Clement, Anne and Paul, which ends in the “combat de l‘ile“ of the title.

In the early ‘60s the world wide success of two great New Wave film noirs, Jean-Luc Godard’s Breathless and Francois Truffaut’s Shoot the Piano Player, was part of a real post-Rififi French explosion of the form among young and emerging moviemakers. This unusual but model noir, Combat de l’Ile, almost unknown in the U.S. but highly regarded in France, was the first film of a writer-director you wouldn’t normally associate with noir at all: Alain Cavalier, who made the austere, brilliant religious film Therese, a Cannes Jury Prize awardee, and multiple French Oscar winner, in 1986.

It’s also the first “serious feature” of the superb cinematographer Pierre Lhomme, who later shot such legendary French films as Chris Marker’s Le Joli Mai, Jean Eustache‘s The Mother and the Whore, and the Jean Pierre Melville WW2 Resistance drama Army of Shadows.

Cavalier, however, was a real devotee of the classic American ‘40s and ‘50s thrillers, and he knew the rules of the game. He lists his big inlfuences here as Robert Bresson, Jean Renoir and “American film noir.” (Another influence, according to Lhomme, was the ‘30s naturalist cinema poet Jean Vigo, of L‘Atalante). Combat de l’Ile, scripted by Cavalier and with dialogue by Jean-Paul Rappeneau (director of the excellent 1990 Gerard Depardieu-starring Cyrano de Bergerac), and supervised by Louis Malle (for whom Cavalier had been assistant director on Malle’s classic noir Elevator to the Gallows), is shot in beautifully austere black and white, in Paris and in the country.

It‘s marvelous-looking, oddly poetic, laced with anguish. Cavalier’s film may lack the grim punch, cynical milieu and salty characters of the great French noirs, like Rififi, The Wages of Fear and Second Breath. But Combat compensates with a pure, unabashed romanticism that reminds you of Out of the Past or Nick Ray’s They Live by Night.

It also has a wonderful cast, headed by Trintignant (with his sinister Conformist calm, Serre with his dreamy romantic certitude, and, most important, the ravishing catlike, but sadly self-destructive beauty Romy Schneider, here breaking hearts and sipping too much wine, just as she did in life. (In French, with English subtitles.)

Extras: Cavalier‘s 2010 short France 1961 (Three Stars), about the making of Le Combat de l’Ile; photos from Louis Malle archive; booklet with essays by Lhomme and Elliott Stein.



Greatest Classic Movies Collection: Busby Berkeley Musicals (Three and a Half Stars)

U. S.: Various directors, 1933-36 (TCM/Warner Brothers)

Busby Berekely was the wildly imaginative, totally inimitable, wondrously absurd movie musical choreographer who — working for Warner Brothers in the ‘30s — turned the dance floor into a kaledioscope, made the cameras fly, and set the Warners soundstages ablaze and abloom with hundreds of smiling, lightly dressed (or undressed) chorus girls who, under Berteley’s tutelage and generalship, became an unprecedented army of dazzling dames.

The songs in the shows were usually by Al Dubin (words) and Harry Warren (music): bouncy, catchy and risqué, Depression-proof. (Warren wrote that proletarian classic “I Found a Million Dollar Baby in the Five and Ten Cent Store.”)

The Warners casts were memorably energetic, spry, uniquely Berkeleyesque: dimpled Dick Powell, sweetie Ruby Keeler, sassy Ginger rigers and tough cookie Joan Blondell to sing the songs, and dance the dances; streetwise Allen Jenkins, nervous Frank McHugh, barmy Hugh (“Woo Woo!“) Herbert and foxy grandpa Guy Kibbee for comedy, and, for one glorious movie (Footlight Parade, see below), Jimmy Cagney at his jazziest as Berkely alter-ego choreographer-director-reluctant star Chester Kent to hoof and dream and slap people around.

And the result was unmistakably Berkeley: hot and saucy mixtures of fast-talking Depression-era cynicism, Boy-Meets-Girl romance, and outlandish musical numbers that were supposed to be staged in Broadway or Chicago theatres, but could have taken palce on no theatrtical stage on earth, except maybe the Roman Coliseum, with a few major alterations. Watch the last three incredible numbers in Berkeley‘s incredible masterpiece Footlight Parade — three numbers supposedly staged one after the other in separate Chicago theaters — and your jaw will damned well drop to your ankles.

Lots of directors and choreographers have tried to copy Berkeley’s dancing cameras and his patented kaleidoscopic “top shots“ ever since the ‘30s (though Fred Astaire‘s and Gene Kelly‘s great routines were, in a way, revolts against the Berkeley trend). But the mimics lack Berkeley‘s energy, his pizzazz, his razzmatazz, his full-blown embrace of absurdity. Most of all, they lack Busby Berkeley himself.

But our moves will have Buz and his dames forever. And this TCM set has Berkeley times four, with lots of girl-power. And, of course, a waterfall. Note: The more complete (and more expensive) Warner Berkeley sets, even the old six disc “Busby Berkeley Collection“ are obviously superior choices. But, as a bargain set, this four movie two disc box, with lots of extras, is a good buy for non-completists

Includes: 42nd Street (U.S.: D: Lloyd Bacon; Choreographer: Berkeley, 1933). (Four Stars) The most famous of all Berkeley musicals. Warner Baxter is the driven, tormented director, Dick Powell the writer-tenor, Ginger Rogers the vamp, and Ruby Keeler the little girl who’s going out a chorus girl but coming back a star. Stanley Kubrick named this as one of his ten all-time favorite films; lots of people agree with him. Songs: “42nd Street,” “Shuffle Off to Buffalo,” “You’re Getting to be a Habit With Me.”

Footlight Parade (U.S.: D: Bacon. Chor: Berkeley, 1933) (Four Stars). Berkeley‘s bestmovie. Jimmy Cagney, at his zippiest and toughest, is the Berekely surrogate, Dick Powell is the smiling songwriter, Ruby Keeler the sweetheart singer, Joan Blondell the gal Friday. And, my God, those last three numbers — the cheerfully lewd “Honeymoon Hotel” (with Billy Barty as a rascally infant), the outrageous water ballet to “By a Waterfall,” and the snazzy Von Sternbergian melodrama and New Deal march “Shanghai Lil” — are mindblowers of the first order.

Dames (U.S.: D: Ray Enright. Chor: Berkeley, 1934) (Three Stars). Powell, Keeler, Kibbee and Herbert again. Another opening, another show. The songs include the classics “Dames“ and “I Only Have Eyes for You” and the amazing “When You Were a Smile on Your Mother‘s Lips, and a Twinkle in Your Daddy’s Eye.”

Gold Diggers of 1937 (U.S.: D: Bacon. Chor: Berkeley, 1936) (Three Stars).
A pretty silly movie; incredibly, it’s from a play by Dick Maibaum, who went on to write most of the urbane James Bond movies. In it, Dick Powell sells insurance, and Osgood Perkins (Tony’s dad) tries to collect triple indemnity on musical show backer Victor Moore, while Dick, Joan Blondell and Lee Dixon throw a show together. Berkeley, who got musical ideas from his stretch in the military in WW1 as a field artillery lieutenant, shows off his fighting spirit in the campy boy’s army vs. girl’s army number “All’s Fail in Love and War.” Also: “With Plenty of Money and You.”

Extras: Vintage musical shorts (Including one with Harry Warren playing his songs on piano), dramatic shorts and Looney Tunes; Featurettes; Excerpt from 1929’s “Gold Diggers of Broadway”; Radio promos; Trailers; Notes on Berkeley.


I Am Love (Three Stars)

Italy: Luca Guadagnino, 2009 (Magnolia)

A super-rich Italian industrialist divides his power among his son and grandson, precipitating all kinds of emotional and business crises, especially rattling his son’s beautiful, troubled Russian wife (Tilda Swinton) and her lover, the master chef best friend of her son.

Over-rated, I think; the dialogue is uninspired and the sets really made me miss Visconti. The visuals too often resembled a British TV period drama rather than, say The Leopard or The Damned. But it’s intelligent, well-acted, well-shot: a good realistic drama with ideas about life, and with a fine score by John Adams. I may be too rough on it. (English and Italian, with English subtitles.).

Extras: Commentary by Guadagnino and Swinton; Featurette; Interviews with cast and crew.

And Soon the Darkness (One Star)
U.S.; Marcos Efron, 2010

Back in 1970, director Robert Fuest and producer-writer Brian Clemens (two smart veterans of TV’s cult show The Avengers) made a stylish little British sleeper-thriller called And Soon the Darkness — about pretty British girls bicycling through France, a disappearance, and possible abduction and/or murder. The star was Pamela Franklin (Maggie Smith‘s prize student in The Prime of Miss Jean Brodie) and the movie had a nice pace, good looks and some effective pseudo-Hitchcockian suspense.

This remake, retooled for sexy American bicyclists zipping through Argentina, and directed and co-written by Marcos Efron, looks good too: Gabriel Beristain is the cinematographer, and Amber Heard and Odette Yustman are the bike gals, with Yustman the lady who vanishes. But, as you might expect from this kind of contemporary terror-cheesecake remix (Efron wastes little time getting Heard and Yustman into a pickup bar and then into bikinis) the treatment is creepier and more sordid than it was in 1970, that now classic-looking era when lots of people thought movie sex was going too far.

The real reason for the low rating here is the script: the shockingly inept dialogue and witless plotting that have replaced the competent workm anship of Fuest’s and Clemens’ film. The sole motivation for most of the action in the new Darkness is outrageous stupidity and chronic carelessness on the part of everyone: victim, villains and innocent bystanders alike. In my experience, nobody in the world talks like the people in this movie except the characters in very bad screenplays. Luckily, Beristain does light and shoot some macabre sets — and capture some nice scenery, the heroines included. (In English and Spanish, no subtitles.)

Madam Satan (Two and a Half Stars)

U.S.: Cecil B. DeMille, 1930 (Warner Archive)

Maybe the craziest of all the early talkie DeMille movies, and that’s saying something.

We’re familiar with C. B.’s lavish historical pageants and sin-packed biblical spectacles. Here’s one of his plush pre-Code sex comedy-dramas, set among the philandering rich. Reginald Denny is a wandering rake of a husband. Roland Young is his drunken addled chum. Lillian Roth (the biographical subject of I’ll Cry Tomorrow) is his raunchy mistress. Kay Johnson is his long-suffering wife — who goes through a kind of Up in Mabel’s Room sub-Feydeau sex farce with everybody, and then decides to masquerade, at her horny spouse’s next bash, as a French-accented temptress with a black mask, in a revealing gown with black flame patterns covering her intimate parts. Sort of.

Calling herself “Madam Satan,” and hiding her true identity as a faithful wife, she joins her lesser half for a wild Led Zeppelin of a party aboard an anchored dirigible that turns into a near catastrophe, with the revelers shrieking and plummeting in parachutes to earth. Johnson‘s apparent goal: to show her errant hubby Reg that lechery begins at home.

Ridiculous almost beyond words. The first act sex farce, with everybody clambering in and out of bed, is, to be kind, idiotic. The dirigible party seems to have been modeled on the underground factory-city in “Metropolis,” as reconceived for a revival of Franz Liebkind‘s author‘s cut of “Springtime for Hitler.“ The “evil” costumes, especially Madam Satan’s, beggar description. But I’ve got to say it’s entertaining. Sort of.

Made on demand. Link Warnerarchive/com.

Golden Globe Nominations Reactions

Tuesday, December 14th, 2010

“A lot of tequila will run in our veins tonight.”
– Alejandro González Iñárritu, director of Biutiful

“To be selected with these extraordinary nominees is an honor and, boy, was I ready for some good news!”
– Michael Douglas, star of  Wall Street: Money Never Sleeps

“There will be a lot of ballet jokes. Last night Letterman made fun of the film. I think he said, ‘If you don’t want to celebrate Christmas, you can go see two Jewish girls make out.’”
– Darren Aronofsky, director of Black Swan

“This nomination is an honor and I am thrilled to share it with my friend, my co-conspirator, and my favorite dance partner, Ryan Gosling. Thank you so much to The Hollywood Foreign Press, The Weinstein Company and of course to the inestimable Derek Cianfrance, whose vision led and sustained us all.”
-Michelle Williams, star of Blue Valentine

“I never lost the sight of the fact that this was about real person, and I was so appreciative that the material brought on the talent it did like Christian (Bale) and Amy (Adams),” he said. “It mirrors my family is many ways. Of course it takes a very special person to choose fighting and a lot of time fighting chooses them. After doing this film and going through the training I definitely have new respect for Mickey (Ward) and what his family went through.”
– Mark Wahlberg, star of The Fighter

“I think in Australia, because I’ve been around for 48 years, people think of me as a piece of old comfortable furniture. And now suddenly  foreigners like me.”
– Jacki Weaver, star of Animal Kingdom

“Working on Winter’s Bone with such talented people was an incredible experience, and never did I dream that it would lead to this moment. I’m so proud of this movie and words can’t describe being in the company of these extraordinary actresses. ‘Thank you,’ is the best I can do right now.”
– Jennifer Lawrence, star of Winter’s Bone

“I can remember when I found out that I had been nominated for ‘The Full Monty’ I was clearing cat sick off the floor. I really must get a more glamorous life one of these days.”
— Simon Beaufoy , 127 Hours screenwriter

“What an exciting morning for our film, especially when you consider what a terrific year it was for movies.  Thank you Hollywood Foreign Press Association for this honor and also for recognizing Mark, Melissa, Christian and David’s great work.  I am deeply proud of the film and to be honored for it is icing on the cake.”
– Amy Adams, star of The Fighter

“I am absolutely thrilled with all the nominations for The King Speech and hugely grateful to the Hollywood Foreign Press.  I am so delighted for our entire cast, composer, Alexandre and for David Seidler whose journey towards making this film started as a small boy listening to King George VI on the radio.  I am so grateful to my extraordinary cast and crew for helping to bring this unlikely story of friendship to life.  Thank you to the Hollywood Foreign Press for supporting our film and making me very happy at 2:00 in the morning in Melbourne, Australia!”
-Tom Hooper, director of The King’s Speech

“I’m very happy to get a nomination for The King’s Speech on the eve of my daughter’s birthday, it means I get a prezzie as well. If it reminds any producer, director, writer in the profession that I’m alive and kicking and available for work, then job well done. Thank you Hollywood Foreign Press and everyone that made me look good in The King’s Speech.”
-Helena Bonham Carter, The King’s Speech

“It is so thrilling to be nominated with such great people. Its Disney’s 50th animated film, my 10th Disney musical and it feels like my first time all over again!” 
– Alan Menken, nominated for Best Song for Tangled

“This film’s been a fighter from the start to finish, from the true story of Micky Ward’s struggle to find himself and become a champion, to Mark Wahlberg’s struggle to get this movie made, to the scrappy way we made the film in 33 days, to the actors who took on the roles with a ferocity that is not to be matched. I’m grateful to the Hollywood Foreign Press, and our producers, David Hoberman, Todd Lieberman, Ryan Kavanaugh, Relativity, and Paramount for believing in our story.”
– David O. Russell, director of The Fighter

Tangled has been a labor of love since its beginning, and the passion and dedication of our crew shows in every frame,” commented director Byron Howard.  Director Nathan Greno adds, “It’s a true highpoint in our careers to have Tangled acknowledged by the Hollywood Foreign Press. The nomination is a real thrill and an incredible way to honor Walt Disney Animation’s 50th feature film.”
Nathan Greno and Byron Howard, directors of Tangled 

“You don’t expect late in your career to actually meet somebody that you form a very strong friendship and bond with. Which certainly happened with me and Colin [Firth] and Tom [Hooper]. It’s a rather embarrassing triumvirate of man love.”
– Geoffrey Rush, star of The King’s Speech

“I’ve had the time of my life working alongside my colleagues on The Social Network and I’m grateful to the HFPA for recognizing their great, hard work. On a personal note it’s humbling to be nominated alongside six of the best screenwriters in town.” 
– Aaron Sorkin, screenplay for The Social Network

“The category is insane. It’s, like, what the hell is going on here?”
— Emma Stone , star of Easy A


“It is an incredible honor and joy to be embraced with such warmth and appreciation by the Hollywood Foreign Press Association for the work and sacrifices we made on I AM LOVE.  I am humbled that in Hollywood and America in general – as well as the international community – this film has enjoyed an acclaimed and embraced theatrical release. It is truly unexpected and further strengthens my belief in the power of the language of film.   I celebrate this amazing result by thanking my partners in First Sun, all my producers and of course with my wonderful star Tilda Swinton.  Thank you.”
-Luca Guadagnino, director of I Am Love

 “I couldn’t be more thrilled for my colleagues that we were recognized so richly this morning.  Huge thanks to the HFPA for a big vote of confidence in our film — we’re very grateful and very honored.”

– Scott Rudin, producer of The Social Network
“A huge thank you to the members of the Hollywood Foreign Press Association. I am thrilled and extremely grateful that ‘The Social Network’ has been acknowledged. I am eternally grateful to David Fincher and Aaron Sorkin for creating a film of which we are all so proud.”
– Dana Brunetti, producer of The Social Network


“It was an honor to be part of this wonderful movie and we’re so glad it was acknowledged by the Hollywood Foreign Press Association.”
– Jesse Eisenberg, star of The Social Network

“I’m very touched to have been nominated by the HFPA this morning and am thrilled that The Social Network has been recognized, as well as David, Aaron, Jesse and Trent. The process of Making this movie was an incredibly creative and joyous experience and to see the film honored in this way is truly a thrill and is something for which I’m very grateful.”
– Andrew Garfield, star of The Social Network

“We are incredibly flattered by the recognition we’re receiving for our work scoring The Social Network.  Working with David Fincher and his team ranks among the most rewarding creative experiences either of us have experienced, and we are thankful for the opportunity.  Being part of a team and watching a project you truly believe in resonate with the outside world is its own reward, but this feels pretty great, too.”
– Trent Reznor and Atticus Ross, nominated for The Social Network

“I went out and had my late-night supper as I’m doing a play here [Diary of a Madmen] in Sydney and then experienced the curious phenomena of not being able to connect to the Internet. I was in a complete technological funk — I couldn’t get onto the wifi at my hotel, I couldn’t find a TV channel that was broadcasting the announcements, so my 15-year-old son in Melbourne was holding his phone to the television there to get the information. [The nomination news] was a kind of dad-and-son thing, which is really quite nice. It’s 1:45 a.m. And I should be out clubbing but I have to get to sleep now as I have a matinee tomorrow … We just took [The King’s Speech] from square one and tried to make it as vivid and as lively and as intriguing as we possibly could and that seems to be radiating out to the office, which is great.”
– Geoffrey Rush, The King’s Speech

“Just a few weeks ago I didn’t know if this movie was going to come out. It’s just a testament to just hold on. You never know what’s right around the corner. None of us gave up hope on it. We just believed that eventually it would find its way. I know I held onto that thought. And look what happened. It’s finding its way. There are amazing women out there, and I just wish that some of these women were in movies that were bigger. Somebody brought it to my attention the other day that all the big movies have great parts for men, but where are the women? The women are in the smaller, independent, more boutique movies. And that’s okay because at least we’re there. I hope people will make an effort and get to see them.”
– Halle Berry, star of Frankie and Alice

New York Online Crix Make Their Picks

Sunday, December 12th, 2010

New York Film Critics Online, composed of thirty critics whose outlets are exclusively online and two who are print journalists with a strong online presence, met at Lincoln Center’s Walter Reade Theatre on December 12th and bestowed these awards at its 11th annual meeting:

The Complete List:

The Social Network

David Fincher – The Social Network

James Franco – 127 hours

Natalie Portman – Black Swan

Christian Bale – The Fighter

Melissa Leo – The Fighter

Matthew Libatique – Black Swan

Aaron Sorkin – The Social Network

I Am Love

Exit through the Gift Shop

Toy Story 3

Clint Mansell – Black Swan

Noomi Rapace – The Millennium Trilogy

John Wells – The Company Men

The Kids Are All Right

TOP 10 PICTURES (Alphabetical)

127 Hours (Fox Searchlight)
Another Year (Sony Pictures Classics)
Black Swan (Fox Searchlight)
Blue Valentine (The Weinstein Company)
The Ghost Writer
(Summit Entertainment)
Inception (Warner Bros.)
The Kids Are All Right
(Universal Pictures)
The King’s Speech (The Weinstein Company)
Scott Pilgrim vs. the World (Universal Pictures)
The Social Network (Columbia Pictures)

Weekend Box Office Report — November 28

Sunday, November 28th, 2010

Tangled Up in Blues … and Reds

A quartet of new releases for Thanksgiving failed to topple Harry Potter from the top of the charts during the gobble, gobble fest. The first part of the Potter finale — Deathly Hallows — grossed an estimated $51.2 million for the weekend portion of the holiday frame. Just a cluck behind was the animated Rapunzel of Tangled with $49.2 million ($69.1 million for the 5-days).

The other three wide release freshmen clustered in positions five to seven with indifferent results. The glitzy musical Burlesque crooned $11.4 million, rom-com Love and Other Drugs ingested $9.6 million and Faster added a tortoise-paced $8.2 million.

The big noise of the session proved to be the well positioned awards contender The King’s Speech that amassed a heady $86,000 screen average from just four venues. There was also an impressive $610,000 for local hockey comedy Lance et compte in Quebec, but a dull $212,000 for Bollywood entry Break Ke Baad. And a new seasonal Nutcracker in 3D was virtually D.O.A. with a $62,700 tally from 42 screens.

Adding it all up, Thanksgiving box office was a smidgen less than last year’s result.

Industry trackers generally predicted that Deathly Hallows would prevail at the box office but few anticipated that Tangled would be truly competitive with the Hogwart’s grad. They also generally over estimated the strengths of the remaining trio of new entries; especially Faster, which was given the edge over Love and Other Drugs.

Overall weekend numbers added up to roughly $187 million that translated into a 6% decline from the immediate prior session. It was also a slight 1% decline from Thanksgiving weekend 2009 when The Twilight Saga: New Moon and The Blind Side led with respectively $42.9 million and $40.1 million. The top new entry, Old Dogs, ranked fourth with $16.9 million.

The current session also saw expansions for 127 Hours and Fair Game that were encouraging but nonetheless displayed signs of fatigue. Still with critics groups just weeks away from announcements both films could well experience second winds. The potent arrival of The King’s Speech however has put that film in the forefront and its now vying with a real royal wedding as well as a smattering of pictures yet to be seen for late year honors.


Weekend Estimates – November 26-28, 2010

Title Distributor Gross (average) % change * Theaters Cume
Harry Potter & the Deathly Hollows, Part 1* WB 51.2 (12,420) -59% 4125 221.2
Tangled BV 49.2 (13,660) NEW 3603 69.1
Megamind Par 12.9 (3,770) -20% 3411 130.5
Unstoppable Fox 11.7 (3,670) -10% 3183 60.6
Burlesque Sony 11.4 (3,740) NEW 3037 16.8
Love and Other Drugs Fox 9.6 (3,920) NEW 2455 13.8
Faster CBS 8.2 (3,360) NEW 2451 11.8
Due Date WB 7.2 (2,830) -19% 2555 84.9
The Next Three Days Lionsgate 4.8 (1,860) -27% 2564 14.5
Morning Glory Par 4.0 (1,630) -24% 2441 26.4
127 Hours Searchlight 1.7 (5,900) 89% 293 4.4
Fair Game Summit 1.6 (3,960) 8% 396 6
For Colored Girls … Lionsgate 1.4 (2,360) -38% 605 36.6
Red Summit 1.4 (1,540) -43% 914 86.2
Skyline Uni/Alliance 1.1 (900) -70% 1189 20.1
The Social Network Sony .73 (2,510) -22% 291 90.4
Secretariat BV .66 (1.310) -32% 502 57.6
Lance et compte Seville .61 (6,930) NEW 88 0.61
The Girl Who Kicked the Hornet’s Nest Music Box/Alliance .36 (1,970) -10% 184 4.2
Despicable Me Uni .35 (1,320) 31% 266 249.7
The King’s Speech Weinstein Co. .34 (86,030) NEW 4 0.34
Inside Job Sony Classics .31 (2,330) -9% 132 2.6
Weekend Total ($500,000+ Films) $179.40
% Change (Last Year) -1%
% Change (Last Week) -6%
Also debuting/expanding
Break Ke Baad Reliance .21 (2,500) 85 0.33
Nutcracker 3D FreeStyle 62,700 (1,490) 42 0.09
Made in Dagenham Sony Classics 62.500 (5,680) 64% 11 0.12
The Legend of Pale Male Balcony 11,400 (11,400) 1 0.01
The Unjust CJ 7,200 (7,200) 1 0.01
Tere Ishq Nachaye Eros 4,200 (200) 21 0.01

Domestic Market Share (Jan. 1 – Nov. 21, 2010)

Distributor (releases) Gross Market Share
Warner Bros. (27) 1674.1 17.80%
Paramount (18) 1578.1 16.70%
Fox (17) 1333.8 14.10%
Buena Vista (15) 1174.6 12.50%
Sony (23) 1161.6 12.30%
Universal (18) 793.9 8.40%
Summit (11) 512.7 5.40%
Lionsgate (15) 500.4 5.30%
Overture (7) 81.8 0.90%
Fox Searchlight (7) 81.4 0.90%
Focus (7) 75.2 0.80%
Weinstein Co. (7) 62.6 0.70%
Sony Classics (21) 57.8 0.60%
MGM (1) 51.2 0.50%
CBS (2) 50 0.50%
Other * (296) 242.7 2.60%
9431.9 100.00%
* none greater than .04%

Top Limited Releases * (Jan. 1 – Nov. 21, 2010)

Title Distributor Gross
Hubble 3D WB 18,355,494
The Ghost Writer Summit 15,569,712
The Girl with the Dragon Tattoo Music Box/Alliance 11,282,938
The Young Victoria * Apparition/Alliance 11,131,232
Get Low Sony Classics 9,080,285
A Single Man * Weinstein Co. 7,935,872
The Girl Who Played with Fire Music Box/Alliance 7,837,823
Cyrus Fox Searchlight 7,461,082
Babies Focus 7,444,272
The Imaginarium of Doctor Parnasus * E1/Sony Classics 7,394,171
City Island Anchor Bay 6,671,036
The Last Station Sony Classics 6,617,867
The Secret in Their Eyes Sony Classics 6,391,436
It’s Kind of a Funny Story Focus 6,350,058
Winter’s Bone Roadside Attraction 6,225,414
Waiting for “Superman” Par Vantage 6,130,466
Under the Sea 3D * WB 5,504,062
Precious Lions Gate 5,085,319
I Am Love Magnolia 5,002,411
An Education * Sony Classics 4,963,224
* does not include 2009 box office

Weekend Box Office Report – October 31

Sunday, October 31st, 2010

See … Saw … Ouch!

Saw 3D whipped into cinemas with an estimated $24.3 million to take top spot in weekend movie going. Distributors gave a wide berth to the Halloween frame when traditionally there are sharp drops in attendance; making the Saw finale the sole new national release.

A different sort of ghoul — the Millennium finale The Girl Who Kicked the Hornet’s Nest — went limited wide to solid returns of $890,000, but otherwise the frame’s new entries were dominated by niche and exclusive launches. The best of the bunch was the Chinese trembler Aftershock with a single screen entry of $17,600. Other newcomers with good but not spectacular returns included indie drama Welcome to the Riley’s, Brit spy spoof Wild Target, Mexican prize winner Nora’s Will, Claude Chabrol’s final effort Bellamy and non-fiction entry Waste Land.

Overall box office saw a sharp fall from last weekend and a slight bump from 2009 results.

The seventh annual edition of the Saw franchise was hoping for an exit with bite with the addition of stereoscopic imagery. But pre-release tracking indicated that with or without gimmicks the mania was fading and its mid-$20 million weekend tally was pretty much in line with pundit’s predictions. The gore crowd would appear to be sated with current splatter fare but the past month has seen every segment of the audience unenthusiastic for the new crop of movies beyond their opening sessions.

The global juggernaut for the Millennium trilogy continued with the U.S. bow of The Girl Who Kicked the Hornet’s Nest. The first installment, The Girl with the Dragon Tattoo, has racked up $99 million internationally and it and its second chapter are the top grossing foreign-language movies in America post-Pan’s Labyrinth.

Weekend revenues generated about $95 million in sales that translated into a 28% drop from the immediate prior session. It was a modest 6% improvement from 2009 when Michael Jackson: This Is It bowed to $23.2 million followed by Paranormal Activity with $16.4 million.

The fact-based Conviction expanded nationally to fair results and appears to be headed to the same sort of indifferent commercial returns as the rest of the early award season contenders. A sharp drop for last weekend’s Hereafter departs from the sort of holds associated with recent films directed by Clint Eastwood whereas the better than expected stamina of the geezer spies of RED has confounded box office mavens.

But apart from Jackass 3D (which passed a $100 million tally this weekend) such well-reviewed positive word-of-mouth entries as The Social Network and Secretariat have struggled to maintain a presence (forget about momentum) in a marketplace that has all but eliminated the possibility of a second wind.


Weekend Estimates – October 29-31, 2010

Title Distributor Gross (average) % change * Theaters Cume
Saw 3D Lionsgate 24.3 (8,660) New 2808 24.3
Paranormal Activity 2 Par 16.4 (5,070) -60% 3239 65.6
Red Summit 10.9 (3,250) -28% 3349 59
Jackass 3D Par 8.5 (2,720) -60% 3139 101.7
Hereafter WB 6.4 (2,630) -47% 2424 22.2
Secretariat BV 5.0 (1,610) -28% 3108 44.7
The Social Network Sony 4.7 (1,690) -36% 2767 79.7
Life As We Know It WB 4.1 (1,440) -33% 2860 43.6
The Town WB 2.0 (1,250) -27% 1608 87.7
Conviction Fox Searchlight 1.8 (3,220) 501% 565 2.4
Legend of the Guardians WB 1.8 (880) -46% 2010 52.7
Easy A Sony 1.1(880) -37% 1262 56.3
The Girl Who Kicked the Hornet’s Nest Music Box/Alliance .89 (5,830) New 152 0.89
Wall Street: Money Never Sleeps Fox .78 (840) -37% 933 51.2
Waiting for “Superman” Par Vantage .52 (1,580) -33% 330 4.6
Devil Uni .51 (800) -21% 635 33.1
Alpha and Omega Lionsgate .48 (710) -34% 676 24.1
It’s Kind of a Funny Story Focus .46 (960) -32% 477 5.8
You Again BV .41 (610) -37% 673 24.7
You Will Meet a Tall Dark Stranger Sony Classics .33 (1,022) -24% 323 2.4
Toy Story 3 BV .31 (920) -34% 337 413.9
Weekend Total ($500,000+ Films) $89.70
% Change (Last Year) 6%
% Change (Last Week) -28%
Also debuting/expanding
Stone Overture .22 (1,760) -39% 125 1.2
Nowhere Boy Weinstein Co. .13 (840) -62% 153 1
10.50 Alliance 55,800 (4,290) 13 0.06
Welcome to the Riley’s IDP 41,600 (4,160) 10 0.04
Nora’s Will Menemsha 25,300 (4,220) 6 0.03
Wild Target FreeStyle 23,200 (5,800) 4 0.02
Bellamy IFC 19,700 (9,850) 2 0.02
Monsters Magnolia 18,100 (6,030) 3 0.02
Aftershock AMC 17,600 (17,600) 1 0.02
Waste Land Arthouse 10.300 (10,300) 1 0.01
Walkaway IABA 9,400 (360) 26 0.01
Strange Powers Variance 4,800 (4,800) 1 0.01
The Kids Grow Up Shadow 4,600 (4,600) 1 0.01

Domestic Market Share (Jan. 1 – Oct. 28, 2010)

Distributor (releases) Gross Market Share
Warner Bros. (25) 1436.3 16.40%
Paramount (16) 1389.1 15.90%
Fox (16) 1289.8 14.70%
Buena Vista (15) 1155.5 13.20%
Sony (23) 1142.4 13.10%
Universal (17) 774.3 8.90%
Summit (10) 473.3 5.40%
Lionsgate (12) 412.7 4.70%
Overture (7) 80.6 0.90%
Focus (7) 74.1 0.80%
Fox Searchlight (6) 73.4 0.80%
Weinstein Co. (7) 61.9 0.70%
Sony Classics (21) 54.7 0.60%
MGM (1) 51.2 0.60%
CBS (2) 50 0.60%
Other * (277) 229.7 2.70%
8749 100.00%
* none greater than .04%

Top Limited Releases * (Jan. 1 – Oct. 28, 2010)

Title Distributor Gross
Hubble 3D WB 17,246,918
The Ghost Writer Summit 15,569,712
The Girl with the Dragon Tattoo Music Box/Alliance 11,270,373
The Young Victoria * Apparition/Alliance 11,131,232
Get Low Sony Classics 8,980,294
A Single Man * Weinstein Co. 7,935,872
The Girl Who Played with Fire Music Box/Alliance 7,768,761
Cyrus Fox Searchlight 7,461,082
Babies Focus 7,444,272
The Imaginarium of Doctor Parnassus * E1/Sony Classics 7,394,171
City Island Anchor Bay 6,671,036
The Last Station Sony Classics 6,617,867
The Secret in Their Eyes Sony Classics 6,391,436
Winter’s Bone Roadside Attractions 6,204,696
It’s Kind of a Funny Story Focus 5,342,641
Under the Sea 3D * WB 5,256,073
I Am Love Magnolia 4,982,446
An Education * Sony Classics 4,963,224
The Hurt Locker * Summit 4,531,548
Solitary Man Anchor Bay 4,360,548
* does not include 2009 box office

The Weekend Box Office Report — Four Day and Summer Charts

Monday, September 6th, 2010

Summer of Our Discontent

Domestic box office for the summer season dropped 3% from 2009 on an estimated gross of $4.05 billion. On an even graver note admissions sank at least 10% and possibly as high as 12%.  Following a fast start in early May, movie going appeared to lose steam mid-stream and though the final Labor Day holiday frame contributed a slight 5% weekend boost it was insufficient to close the gap.

Heading into the weekend, Paramount led in market share but were out-gunned at the final shoot out by Sony with the latter closing the season with a 16.5% slice of the big pie to the former’s 15.9%. The summer’s top grossing film was Toy Story 3 with a $408.8 million tally. Five of the top 10 top seasonal grossers were in the 3D format and two others — Inception and Iron Man 2 — had a significant number of large format engagements. The surge of premium price movies proved to be a ferocious audience magnet. Collectively the seven films contributed $1.82 billion to the box office, or 45% of all summer ticket sales.

Despite the potency of such conventionally formatted films as The Twilight Saga: Eclipse and unexpected results for the likes of Grown Ups and The Expendables, box office events are increasingly tilted toward pictures with higher entry fees.  And whereas the historic trend of successful films increasing attendance, the present situation appears to have limited the general publics frequency at the multiplex in what may be a factor of the slowly recovering American economy.  Gloom and doom aside, major gains were made in the independent sector.

The likes of Summit and Lions Gate chose to compete against the majors for a change and the former was a hair’s breath away from nudging Fox out of the top six. Niche titles ranging from the first two portions of the Millennium trilogy, festival favorites such as Winter’s Bone and The Kids Are All Right and critical favorite I Am Love were a significant factor in summer sales.  In all 13 films of this type grossed in excess of $4 million each — a seasonal record that indicates a growing audience for alternative fare.

Though the industry has long contended that there is an insufficient market for mid-range pictures, the absence of a breakout title on the order of The Hangover may have finally sealed that verdict. Summer 2010 certainly underlines that the multiplex comes in just two sizes — big and small.

Weekend (estimates) September 3 – 6, 2010

Title Distributor Gross (average) % change * Theaters Cume
The American Focus 16.5 (6,060) New 2721 19.6
Machete Fox 14.1 (5,290) New 2670 14.1
Takers Sony 13.6 (6,170) -47% 2206 40.1
The Last Exorcism Lions Gate 8.7 (3,030) -64% 2874 33.5
Going the Distance WB 8.6 (2,840) New 3030 8.6
The Expendables Lions Gate 8.3 (2.440) -46% 3398 93.9
The Other Guys Sony 6.6 (2,520) -16% 2607 108
Eat Drink Pray Sony 6.1 (2,300) -29% 2663 70.2
Inception WB 5.8 (3,410) -6% 1704 278.4
Nanny McPhee Returns Uni 4.6 (1,690) -24% 2708 23.4
Despicable Me Uni 3.8 (2,400) -2% 1600 241.3
The Switch BV 3.8 (2.030) -32% 1885 22.2
Vampires Suck Fox 3.7 (1,520) -43% 2434 33
Toy Story 3 BV 2.6 (1,730) 89% 1520 408.8
Piranha 3D Weinstein Co. 2.9 (1,640) -46% 1789 23
Avatar (reissue) Fox 2.8 (3,480) -43% 811 758.1
Lottery Ticket WB 2.6 (1,990) -41% 1310 21
Scott Pilgrim vs. the World Uni 1.9 (2,390) -38% 807 29.2
Salt Sony 1.6 (2,230) -34% 705 115.5
Get Low Sony Classics 1.5 (2,910) -26% 526 5.7
Dinner for Schmucks Par 1.2 (1,540) -45% 804 71.1
Step Up 3D BV .89 (2,050) -44% 434 41.2
Grown Ups Sony .65 (1,950) 88% 333 160.1
Cats & Dogs: Revenge of Kitty Galore WB .64 (1,410) -30% 455 42.2
The Sorcerer’s Apprentice BV .57 (1,600) 63% 357 61.7
Twilight: Eclipse Summit .54 (1,360) -18% 396 298.8
The Kids Are All Right Focus .51 (2,130) -22% 239 19.9

* percentage changes are 3-day to 3-day

Weekend Total ($500,000+ Films) $125.10
% Change (Last Year) 5%
% Change (Last Week) -11%

Also debuting/expanding

We Are Family UTV .32 (4,730) 67 0.32
Cairo Time IFC .22 (3,960) -11% 55 0.9
Mesrine: Killer Instinct Alliance/Music Box .16 (3,110) -38% 52 0.88
Mesrine: Public Enemy no. 1 Alliance/Music Box .15 (3,020) 143% 51 0.23
A Woman, a Gun and a Noodle Shop Sony Classics 33,800 (6,760) 5 0.03
My Dog Tulip New Yorker 14,100 (14,100) 1 0.01
Prince of Broadway Elephant 12,300 (12,300) 1 0.01
White Wedding Mitropoulos 6,700 (1,670) 4 0.01
The Winning Season Roadside At. 6,100 (2,030) 3 0.01
16 to Life Water Dog 3,500 (1,750) 2 0.01

Domestic Summer Market Share (May 7 – September 6, 2010)

Rank Distributor Gross Mkt Share % Change Rank
(in millions) 2009 2009
1 Sony 669.2 16.50% 27% 5
2 Paramount 643.6 15.90% -18% 2
3 BV 611.6 15.10% -12% 3
4 Warner Bros. 514 12.70% -49% 1
5 Universal 499.9 12.40% 54% 6
6 Fox 362.3 8.90% -24% 4
7 Summit 360.6 8.90% 1148% 9
8 Lions Gate 178.5 4.40% 1273% 12
9 Focus 47.3 1.20% 172% 11
10 Weinstein Co. 23.9 0.60% -80% 7
Miramax 22.2 0.50% 158% 13
Sony Classics 18.8 0.50% 6% 10
Other 96.3 2.40% N/A
4048.2 100.00% -3%
% Change 2010 (Other Distributors)
Fox Searchlight -83%

Time And Space And I Am Love

Friday, September 3rd, 2010

Time And Space And I Am Love

The Class Issues Of Loving Eat Pray Love Vs. I Am Love

Saturday, August 21st, 2010

The Class Issues Of Loving Eat Pray Love Vs. I Am Love