Posts Tagged ‘ Steve Ramos ’

Remembering Cinema Advocate and Veteran Critic Roger Ebert

April 6, 2013
By
Roger Ebert's advocacy spirit for cinema will continue.

Roger Ebert, who passed from cancer on April 4, will live on via his advocacy spirit for cinema.

I’m a proud member of the Roger Ebert army of fans; one of many who enjoyed his writing and was lucky to add a firm handshake and smile to what had been a long-distance writer/reader relationship. His sad fall to cancer at age 70 on April 4, doubly tragic following his recent pledge to keep writing despite increased radiation treatments, brings back lots of fond memories.

 

It’s funny that although I’ve worked as a film journalist for many years my first encounter with Ebert had more to do with his daily errands. I’m in college in the ‘80s, working at a combo electronics store/video rental counter on Clark Street in Chicago’s Lincoln Park neighborhood and Ebert comes in to buy a new TV. I remember the excitement, after all Ebert was a true blue Chicago celebrity alongside his longtime friend Oprah Winfrey, two superstars in a Midwest metropolis void of the entertainment commerce communities of say New York, Los Angeles or even Nashville.

Watching Ebert buy a TV from my manager felt appropriate at the time because a year earlier I sold his ‘At the Movies‘ co-host Gene Siskel a kitchen TV at Field’s Water Tower Place store. There you have it. I’m the go-to TV salesman for these famous Chicago film critics after watching their reviews show as a kid growing up Struthers, Ohio, then reading their newspaper reviews every Friday morning while commuting from my Ravenswood neighborhood apartment on the “L.”

My fondest Ebert memory is one of long-distance support a few years after the TV store encounter. I’m working as a film critic in Cincinnati, Ohio and writing about the owner of an art-house cinema who ordered his projectionists to splice out a sex scene from Wayne Wang’s ‘The Center of the World’ and banned me “forever” from his cinemas for reporting the story.

Looking back, I can honestly that my biggest advocate was Ebert who wrote about the incident in his ‘Answer Man’ column and sharply criticized the cinema owner’s censorship and my ban.

 

Roger Ebert, in Cinema Balcony, from his 'At the Movies' show.

Veteran critic Roger Ebert, who passed April 4, strikes a pose familiar to fans of his ‘At the Movies’ reviews show.

Over the years, during annual trips to the Sundance and Toronto International Film Festivals, I can point to more professional, peer-to-peer encounters, from sharing a line before a screening; watching Sundance founder Robert Redford wade into a press conference crowd to personally greet him; being introduced by a colleague to Ebert and his wife Chaz; personally thanking him for his column in support of my writing and receiving a ‘Thumbs Up’ from him as he looked over my Toronto press badge and approved of my writing at the time for the London-based trade ‘Screen International.’

 

Later this month, the 2013 summer blockbuster season will launch with another superhero adventure without the Pulitzer Prize-winning Ebert around to offer his take on the movies. He’s no longer with us; just as the great James Agee is no longer with us, or Andrew Sarris and so many others who wrote so beautifully about movies and their place in our lives.

Still, like all great artists, their work transcends their own lives and reaches forward to future generations. In the case of Ebert, there will be more memories made, from his books, from his website and social media presence, even from the work of his wife Chaz who just agreed to host this year’s edition of the Ebertfest Film Festival in Champaign, Illinois. Ebert’s spirit of cinema advocacy lives on; arguably an accomplishment every bit as monumental as his best selling books, longstanding newspaper career at the Chicago Sun-Times, successful TV series and coveted Pulitzer Prize.

Get Me Ron Perlman! Colin Firth in talks to Join Spike Lee’s ‘Old Boy’

November 12, 2011
By

Colin Firth, in a scene from Tinker Tailor Solder Spy, is in talks to join Spike Lee's 'Oldboy'

The 2011 holiday movie season with all its awards-oriented releases is unfolding in rapid fashion but the “Get Me Ron Perlman” column, the only casting news column named after character actor par excellence Ron Perlman, remains focused on future roles that may impact awards season 2012 and beyond.

 Colin Firth, Best Actor Oscar winner for his lead performance in The King’s Speech, is in final talks to join Spike Lee’s U.S. remake of Park Chan-wook‘s acclaimed revenge thriller Oldboy. According to the popular fan boy site Twitch Film, Firth is likely to join Oldboy as the villain who kidnaps Josh Brolin’s character and holds him hostage without reason for 15 years. Granted, Batman himself, Christian Bale is also rumored to be in the running for the bad guy role but it’s impossible not to be excited about the prospect of a recent Oscar winner playing the part.

With production wrapping on high-profile franchise movies The Avengers and The Dark Knight Rises, look for the fan boy spotlight to rest upon Skyfall, the 23rd James Bond movie, this time directed by Sam Mendes.

Daniel Craig is back as Agent 007, as well as Judi Dench as his MI6 boss M, with Javier Bardem, Naomie Harris, Ben Whishaw and Ralph Fiennes joining the cast.

Per the online trade Deadline, joining the spy adventure just in time for the start of production are Helen McCrory, soon to be seen in director Martin Scorsese’s 3D adventure Hugo, and Ola Rapace, the former husband of Girl with the Dragon Tattoo star Noomi Rapace. McCrory and Rapace join the cast of Skyfall in unknown roles but rest assured, fan photos and on-set spies will soon provide plenty of details about their characters.

Give credit to Russell Brand for dusting off the stench from his awful comedy remake of Arthur and staying true to his goal of Hollywood stardom.

According to The Hollywood Reporter, Brandon is set to produce via his shingle Branded Films and star in the upcoming comedy The President Stole My Girlfriend. Brand describes his character as a sexy hippie who loses his girlfriend to the President. What he means to tell fans is not to worry, The President Stole My Girlfriend cannot be any worse than Arthur.

Supporting the argument that the best roles today come from premium cable series, veteran actor Paul Bettany makes his small screen debut as the lead player in Showtime’s upcoming drama Masters of Sex.

According to The Hollywood Reporter, Bettany is set to play famed human sexuality expert and educator William Masters. After playing a futuristic vampire hunter in Priest, Bettany probably sees Masters of Sex as a dream job come true.

The week’s biggest casting news belongs to Billy Crystal replacing Eddie Murphy as master of ceremonies on the 2012 Academy Awards. Per The Hollywood Reporter, Crystal returns to Oscars hosting duties in the wake of co-producer Brett Ratner’s sudden resignation in the wake of increasing furor over an anti-gay comment he made at a post-screening Q&A for his comedy Tower Heist. Murphy’s exit comes as no surprise since he joined the Oscars ceremony as a favor to Ratner. Crystal is an Oscar host veteran but it remains to be seen if he can help the awards show shake its dull reputation.

The Morning Feed: Eddie Murphy Out, Billy Crystal In as Oscar Host

November 11, 2011
By

Billy Crystal Replaces Eddie Murphy as Oscars Host

Stateside hipsters are counting the days to the November 21 opening of Gaga’s Workshop, the dedicated holiday space crafted by Lady Gaga and Nicola Formichetti at the Madison Avenue flagship of Barneys New York. Until then, the fine fashionistas at Refinery 29 offered a quick report of Chanel’s holiday window display titled Christmas: Dreams of Far Away at the landmark Printemps department store in Paris. Karl Lagerfeld and the lovely Vanessa Paradis unveiled the windows that feature New York City and Moscow in addition to Paris as well as puppets in the likeness of Lagerfeld. Belle!

Novelist Lee Polevoi wrote a gushing review of James Wolcott’s Lucking Out: My Life Getting Down And Semi-Dirty in Seventies New York for Highbrow Magazine. Polevoi described Wolcott’s five, extended essays about launching his writing career in seventies New York as “Proustian,’ arguably the best compliment one can give a memoir. Granted, Polevoi admitted that the graffiti-sprayed, gritty glamour of seventies New York breathed life into Wolcott’s remembrances. It also helped that Wolcott’s tales involved movie screenings with Pauline Kael and concert reviews of Patti Smith at CBGB’s.

Angry Birds fans lined up at the first store dedicated to the wireless game phenomenon courtesy of Rovio Mobile in its home town of Helsinki, Finland. TechCrunch reported on the opening and the shelves stuffed with authentic Angry Birds merchandise including a cookbook, a school kit and plenty of stuffed animals. Rovio CEO Peter Vesterbacka previously confirmed plans for the next Angry Birds store in China. Fingers crossed that Angry Burds stores become as ubiquitous as Old Navy.

Veteran director and producer Brett Ratner made tsunami-sized Hollywood waves by resigning Tuesday as the co-producer of the 2012 Academy Awards telecast due to an anti-gay comment he made at a post-screening Q&A for his comedy Tower Heist as well as a racy follow-up interview with Sirius XM Radio host Howard Stern.

According to The Hollywood Reporter, Ratner’s resignation led to host Eddie Murphy stepping down (Ratner personally asked Murphy to be master of ceremonies). Imagine Entertainment partner Brian Grazer replaced Ratner and Billy Crystal agreed to replace Murphy and host the Oscars for a ninth time.

‘Martha Marcy May Marlene’ Review: Elizabeth Olsen breaks out in suspenseful cult drama

November 11, 2011
By

Marcy (Elizabeth Olsen) stares blankly while her sister (Sarah Paulson) helps her dress in Sean Durkin's suspense drama 'Martha Marcy May Marlene'

Martha Marcy May Marlene

Rated R

Running Time:  101 Minutes

Grade: A

 

Perfect ambiguity brings filmmaker Sean Durkin’s suspenseful drama about a young woman (Elizabeth Olsen) escaping an abusive cult to a daring close that leaves audiences wondering about the fate of its troubled heroine. It’s an edgy and chancy decision by Durkin, one that suits the artful nature of Martha Marcy May Marlene (MMMM). Premiering earlier this year at the Sundance Film Festival, MMMM is this year’s standout specialty film release, an experimental, atmospheric, thrilling drama and legit alternative to Hollywood fare. MMMM also provides an impressive set of debuts for Durkin, who’s directing his first feature after a couple of impressive short films, and Olsen, who almost single-handedly supports the movie with a rich and complex performance.

Durkin begins his story with Martha (Olsen) contacting her sister Lucy (Sarah Paulson) for the first time in years and asking to recuperate at the luxurious country home Lucy shares with her husband Ted (Hugh Dancy). In an intricate web of frequent flashbacks, Martha’s recent experiences at a nearby cult in upstate New York become painfully clear as well as the cruelty she suffered at the hands of the cult’s charismatic leader (John Hawkes).

Lucy struggles to understand her younger sister’s strange behavior and Marcy’s unwillingness to talk about her recent past makes her family reunion strained. Via nightmares and growing paranoia, Marcy fears for her life but it’s never clear whether her worries are true or not — not even at the terrifying conclusion.

Durkin has some impressive experimental shorts to his credit but he makes a successful transition into narrative features with MMMM. Durkin, cinematographer Jody Lee Lipes and production designer Chad Keith match the film’s tense storytelling with beautiful images of the cult’s rural farm. Durkin and editor Zac Stuart-Pontier keep the story moving briskly via extended flashbacks of Martha’s time at the cult. Still, what speaks to Durkin’s impressive leaps from shorts to feature-length movies is his ability to inspire strong performances from his cast. MMMM is a dazzling to the eye but its performances are truly special.

John Hawkes (Winter’s Bone) is both compelling and frightening as the cult leader. Sarah Paulson and Hugh Dancy are pitch perfect as family members incapable of understanding Martha’s predicament.

Much of the film’s excitement revolves around newcomer Elizabeth Olsen who’s both sympathetic and aggravating and strong-willed and deeply scarred as Martha. Olsen has a famous name thanks to her celebrity sisters Mary-Kate and Ashley Olsen but she’s a newcomer to movie audiences.

It’s one thing to choose a challenging movie like MMMM for one’s feature film debut and it’s another to deliver the year’s most heartbreaking performance.

Elizabeth Olsen makes Martha unique and unforgettable and now, thanks to MMMM and her standout performance we can begin to say the same things about her.

Grade: A

Distributor: Fox Searchlight

Director: Sean Durkin

Scriptwriter: Sean Durkin

Cinematographer: Jody Lee Lipes

Cast: Elizabeth Olsen, John Hawkes, Brady Corbet, Sarah Paulson, Hugh Dancy

Running Time: 101 minutes

Producers: Borderline Films, FilmHaven Entertainment, MayBach Cunningham, This is That

Rating: R

Release Date: Fall 2011

‘Fordson: Faith, Fasting, Football’ filmmaker Rashid Ghazi travels to Dearborn, Mich. to make a documentary about high school sports but exits with story of deep-rooted patriotism

October 18, 2011
By

Director Rashid Ghazi pulls back the curtain on Dearborn's Arab American community in 'Fordson: Faith, Fasting, Football'

Drive Interstate 75 through the brown fields of industrial Detroit and you’ll see countless stories of hardship and struggle just beyond your car windshield.

Rashid Ghazi, a Chicago-based sports marketing and TV consultant, looks beyond the despair and tells a rousing Detroit tale involving high school football, immigrant families and deep-rooted patriotism.

Ghazi’s documentary feature, Fordson: Faith, Fasting, Football; takes place in the Detroit suburb of Dearborn, home of the largest concentration of Arabs outside the Middle East.

The majority of Dearborn’s working-class Arab American families send their children to Fordson High School and Ghazi follows four Muslim high school football players during the last ten days of Ramadan as they prepare for the big game with their cross-town rival Dearborn High.

Ghazi tells The Original Feed that he and his crew worked hard to balance the high school sports drama with political themes involving immigration and tolerance as Dearborn’s Arab American community deals with the after-effects of the Sept. 11, 2001 terrorist attacks.

As a result, Fordson: Faith, Fasting, Football; currently playing select AMC theaters nationwide via North Shore Films, celebrates what makes Dearborn unique while emphasizing all that its Arab American community shares with the rest of the country: a passion for sports, a commitment to family and an unwavering love for America.

Q: Fordson: Faith, Fasting, Football combines the universal themes of Friday Night Lights and high school football with the unique challenges facing the Arab American community of Dearborn. How did you balance the two in your movie?

A: I think there’s this commonality of high school football and love for team, family and community pride not just at Fordson but all across the country. Every town and community has their own culture and everyone has a little different way that they tail gate and the way they cheer. There’s uniqueness and that’s one of the great things about America with so many different cultures and races and religions. But we all adopt a love of football and a love of sports and with Fordson it’s Friday Night Lights but the women are in Hijabs, the kids do a prayer from the Koran before each game and there are Shawarma sandwiches sold at the concession stands. So I thought people would be drawn in because of the high school football but they would also be educated about a world they never knew.

Q: Did you always plan to release Fordson: Faith, Fasting, Football around the tenth anniversary of 9/11?

A: When I originally had the idea for the film it was back in 2004 and the tenth anniversary was the furthest thing on my mind. What was on my mind was how Sept. 11 uniquely affected this community due to acts they had nothing to do with. My crew and I were apprehensive at first to release the movie on the anniversary. We wanted to be sensitive. But we had a number of people, from military people to people who lost good friends at the World Trade Center, who told us that they appreciated the sensitivity of the film and that we told a story that had not yet been told.

Q: You and your crew pull back the curtain on Dearborn’s Arab American community. What are you hoping audiences learn about Dearborn from your film that they don’t see in most news coverage?

A: You’re right. The news media has frequently gone to Dearborn but you can’t get a feeling for who people are in thirty-second sound bites. My goal was to take people into the homes, hearts and the minds of the people of Dearborn and to get an idea about their family units and their value systems. I tell people it’s not just a story about Americans and Muslims. It’s an American story about immigrant communities. We have  a tremendous history in this country about immigrant communities going through challenges and coming out of them stronger and becoming  part of the fabric of America.

Dearborn’s Arab Americans may pray in a mosque. Their clothing may be different. They may have certain food and dietary restrictions but they’re here for the very same reasons of everybody else with an immigrant relative. They came for freedom of religion. They come for better job opportunities and to educate their kids. That’s the message; that they have all adopted many of the same American values and customs but like all minority groups they maintain the cultural characteristics of their motherlands.

Q: There’s a deep feeling of patriotism that runs throughout Fordson: Faith, Football, Fasting; despite all the intolerance Dearborn’s Arab Americans experience on a daily basis. Where you surprised by this community’s patriotic fever?

A: I did not go into Dearborn thinking that I was going to have a patriotic film. I went there expecting a little bit more of a depressive film about a community struggling and people being kicked around. What I found was a sense of pride and defiance. Patriotism became a theme over and over again as the adults shared with me their tremendous love for this country and their appreciation for the opportunities to create their own businesses.

I also think that many second and third and fourth generation Americans for some reason think that patriotism is for theirs to own and not for other immigrant groups to have. I think you can be patriotic no matter what religion you are and no matter what race you are if you’re an American and you live in this country.

 

TIFF 2011: ‘Livid’ Review: French filmmaker duo Julien Maury and Alexandre Bustillo create a frightening fantasy

October 12, 2011
By

Directors Julien Maury and Alexandre Bustillo draw inspiration from the Brothers Grimm with 'Livid.'

Livid

The Weinstein Company

Rating: TBD

Running Time: 88 minutes

Grade: B

REVIEW BY STEVE RAMOS

The French filmmaker duo Julien Maury and Alexandre Bustillo are undisputed masters of horror thanks to their incredible debut thriller Inside (A l’intérieur), about a pregnant woman fighting off a bloodthirsty female intruder.

Bustillo and Maury sidestep away from the slasher genre and into the world of Brothers Grimm-inspired fantasy for their sophomore film Livid (Livide). Hardcore splatter fans may be disappointed but Livid is powerful proof of what happens when masters of horror take creative risks and try something bold and new.

Lucie (Chloé Coulloud) takes a job as a home care provider for seniors suffering in various states of illness and dementia but the young woman has ulterior motives.

Lucie and her friends William and Ben plan to rob the houses of the helpless seniors. Their first target is Madame Jessel (Marie-Claude Pietragalla), a former dancer and ballet instructor now comatose and kept alive by an oxygen mask and its long back tube connected to a bedside breathing machine.

Lucie and her friends break into Madame Jessel’s house to find the treasure rumored to be hidden amongst the antique clutter. Their lives fall into danger once Jessel comes alive along with her ghostly ballerina daughter who shares her mother’s hunger for blood.

Marie-Claude Pietragalla makes Jessel a horrific villainess as she shifts from an elderly woman with flowing white hair to her younger self with a long black dress and dark hair pulled back tightly from her forehead.

Jessel is a cruel taskmistress quick to use a switch on her dance students but the greater monster is her young daughter in the white tutu and pink ballet slippers.

Together, Jessel and her daughter provide the bursts of gore that remind audiences that Livid is a movie from the makers of Inside, meaning they do not shy away from blood.

Working with production designer Marc Thiebault, Maury and Bustillo make frightening use of the sprawling mansion covered in vines and tendrils of trees and secured by boarded windows and locked doors.

There are classic fairytale references throughout the movie and plenty of unsettling touches including jars holding preserved animals and a child’s table sitting in the center of a bedroom with taxidermy animals gathered around for a macabre tea party.

In one of the movie’s creepiest moments, a child’s face breaks apart like a damaged china doll.

At the risk of disappointing their hardcore gore fans, Bustillo and Maury deserve acclaim for reaching for new heights in the horror and fantasy genre with Livid.

In a genre filled with tiresome sequels and by-the-numbers remakes, Livid is a slice of horror that’s different, bold and new.

Grade: B

Distributor: The Weinstein Company

Cast: Chloé Coulloud, Jeremy Kapone, Catherine Jacob, Felix Moati, Marie-Claude Pietragalla

Screenwriter: Julien Maury and Alexandre Bustillo

Director: Julien Maury and Alexandre Bustillo

Producers: La Frabrique 2

Running Time: 88 min.

Rating: TBA

Release Date: 2012

TIFF 2011: ‘Damsels in Distress’ Review: Whit Stillman returns with quirky female comedy

October 11, 2011
By

(L-r) Carrie MacLemore, Analeigh Tipton, Megalyn Echikunwoke and Greta Gerwig headline Whit Stillman's 'Damsels in Distress'

Damsels in Distress

Sony Pictures Classics

Rating TBA

Running Time: 98 minutes

Grade: B

REVIEW BY STEVE RAMOS

 

Up-and-coming actress Greta Gerwig and long-absent filmmaker Whit Stillman make a comic dream team in the hip and intentionally odd college-set comedy Damsels in Distress. In an era of exaggerated gross-out comedies, with each new film trying to be more outrageous than its competitor, Stillman’s brand of droll comedy is appreciated more than ever.

Violet (Gerwig) leads a group of fashion-obsessed college girls who takes a needy, new girl named Lily (Analeigh Tipton) under their wing in order to make her more stylish and confident. Lily is just one of many classmate self-improvement projects Violet and her friends tackle as part of their personal arts program to aid depressed students at their small East Coast college. To comic effect, Violet suffers her own emotional crisis when her boyfriend leaves her and she starts falling for Lily’s boyfriend (Adam Brody).

Gerwig, recently seen in Greenberg opposite Ben Stiller and the forgettable remake of Arthur with Russell Brand and Helen Mirren, syncs perfectly with Stillman’s brand of dialogue-driven comedy and subtle nuttiness.

Gerwig and her likable costars — Tipton, Megalyn Echikunwoke and Carrie MacLemore — are the film’s spotlight players but Adam Brody adds some welcome sex appeal as the cute boyfriend at the center of the emotional meltdown.

Without missing a beat, Stillman remains as skilled as ever when it comes to female-oriented storytelling, sharp dialogue and creating quirky female characters. Working with cinematographer Doug Emmett, Damsels in Distress also has the polish and sense of style one remembers from Stillman’s earlier films Barcelona and Metropolitan.

Stillman’s best film remains his 1998 comedy The Last Days of Disco starring Kate Beckinsale and Chloë Sevigny. While Damsels in Distress, which recently played festivals in Venice and Toronto, does not match Last Days of Disco’s comic brilliance it’s a strong and enjoyable return effort.

It’s also impressive that Stillman really hasn’t changed with the times; looking around at what’s popular on movie screens today and trying to come up with his version of a Judd Apatow comedy. Instead, he remains true to his ideas about comedy and proves that there’s a white space on the cinema landscape ready for his return.

In the gap years since Last Days of Disco there have been Stillman-inspired comedies from other filmmakers including Zeina Durra’s wonderful Imperialists Are Still Alive! Still, nothing compares to new work from the filmmaker who started it all.

Grade: B

Distributor: Sony Pictures Classics

Cast: Greta Gerwig, Adam Brody, Analeigh Tipton, Megalyn Echikunwoke, Carrie MacLemore, Hugo Becker

Screenwriter: Whit Stillman

Director: Whit Stillman

Producers: Damsels Productions

Running Time: 98 minutes

Rating: TBA

Release Date: 2011

The Morning Feed: Talk Show Host Craig Ferguson Receives Letter Filled with White Powder

August 24, 2011
By

'Late Late Show' host Craig Ferguson receives mysterious white powder in the mail.

Late-night talk show host Craig Ferguson received an unexpected scare and some unique monologue material when two of his Late Late Show staffers came in contact Tuesday with a mysterious white powder after opening an envelope at his CBS TV Studios offices in Los Angeles.

“It’s a frightening day here at the studio,” Ferguson joked on-air. “Today someone sent here an envelope packed with white powder. I said, ‘I’ll test it for you if you want.’ I have a special test that I conducted between 1979 and 1992.

“It was a very scary situation,” Ferguson added. “It was really frightening. My first concern, of course, was for my staff. And by staff I mean penis.”

According to The Hollywood Reporter, Detectives from the LAPD Major Crimes Division were investigating with FBI and European authorities onboard since the letter originated in Europe.

Simon Doonan, creative ambassador at Barneys New York, offered the store’s many fans a jolt of style nostalgia when he looked back an early ‘90s ad from photographer Steven Meisel and art director Ronnie Newhouse. On Barneys The Window blog, Doonan placed the spotlight on the clever-as-ever ad that featured Linda Evangelista and a chimp smooching while Evangelista balanced a shoe on her head. Its copy read — “Attraction sometimes involves a few tricks,” completing a store campaign that would have wowed Peggy Olson.

Musician and actor Tom Waits promoted his upcoming album Bad As Me by releasing its self-titled single today via iTunes. Fans continued to wait for new material from Waits since his last album of original songs, Real Gone, seven years ago. According to The Guardian,  Bad As Me showed Waits to be at his gravely, bluesy best and had fans counting the days to the album release on Oct. 24.

The drama Martha Marcy May Marlene, starring Elizabeth Olsen as a woman trying to escape an abusive cult and reconnect with her sister’s family, earned plenty of acclaim at the 2011 Sundance Film Festival. Fox Searchlight, which bought the film at Sundance, continued to prep the drama for its Oct. 21 release with an experiential website and a motion one-sheet as unique as the film.

Box Office Guru: ‘One Day’ Stumbles in its Debut; just like ‘Conan’

August 24, 2011
By

Poor reviews hamper opening of 'One Day' starring Anne Hathaway & Jim Sturgess.

Long after the reporting of the weekend’s top-earning movies became an evening news fixture; past the rising popularity of showbiz websites dedicated solely to box office reporting, I wrote indieWire’s weekly box office column for a couple of years and paid rapt attention to the financial successes and failures of movies big and small.

A colleague of mine jokingly pegged me a “Box Office Guru” because I spent so much time pouring over box office details. I was also sharply criticized for being part of the “problem” by an exec at a specialty distributor. He said columnists like me were persuading moviegoers to evaluate art-house movies based on their earnings; just like Hollywood blockbusters.

I decided to add the Box Office Guru column to The Original Feed because I remained convinced of the deeper stories, big-picture trends and small-release success stories that come out of the earnings stats day after day. Like I told the specialty exec who cursed the day box office reporting shifted beyond the Hollywood trades and into mainstream media, the problem wasn’t box office reporting per se, but box office reporting that failed to connect the creative stories to the numbers.

Poor reviews hampered the opening of the Focus Features romance One Day, based on the popular novel by David Nicholls and starring Anne Hathaway as the beloved heroine Emma Morley and Jim Sturgess as her university friend and would-be lover Dexter Mayhew.

One Day opened on 1,721 screens and earned $5,079,566 for a mediocre $2,952 per-screen average; far below the whopping $9,389 per-screen average director Lone Scherfig’s previous British romance An Education earned from its opening weekend in October 2009.

Without strong word-of-mouth from even the book’s most die-hard fans, One Day looked to fade at the box office despite Hathaway’s impressive publicity work on behalf of the movie. The Help, based on Kathryn Stockett’s bestseller, continued its grip on adult moviegoers with $20 million in weekend earnings and $73.9 million through Monday and proved to be tough competition for One Day.

Poor reviews also crippled the 3-D fantasy Conan the Barbarian from Lionsgate and starring Jason Momoa in the role made famous by Arnold Schwarzenegger.

Conan’s poor results of $10 million in debut weekend box office on 4,500 screens at 3,015 locations (2,100 of the locations were 3-D) placed the remake on the summer flop pile and eliminated any chances of a sequel.

Granted, reviews always mattered more to a specialty release like One Day so its poor showing made sense. Conan proved that genre fans also pay attention to reviews when they’re not entirely sold on the movie. The Fright Night remake also supported that argument with lackluster weekend earnings of $8.1 million from 4,600 screens.

The weekend’s art-house success story belonged to the Music Box Films period drama Mozart’s Sister starring 15-year-old Marie Féret as Mozart’s talented older sister and directed by her father René Féret. Mozart’s Sister earned $34,046 from seven screens for a strong $4,864 debut average.

Mysteries of Lisbon, the epic and final film from the late Chilean director Raul Ruiz, who passed at age 70 on August 19, continued to draw sizable crowds to its single booking at the Elinor Bunin Munroe Film Center at the Film Society of Lincoln Center. Mysteries of Lisbon, despite limited showings due to its 4 hour and 17 minute running time and 20-minute intermission earned $6,323 from its single screen for $51,622 in total earnings for Music Box Films.

Veteran filmmaker John Sayles returned to art-houses this weekend with Amigo, a drama about the Philippine-American War starring his frequent collaborator Chris Cooper and Filipino actor Joel Torre. Amigo opened on 10 screens and earned $37,324 for Variance Films. Amigo earned a higher per-screen average than Sayles’ recent films Silver City but failed to match the opening weekend success of his 2002 drama Sunshine State.

In terms of specialty holdovers, Sony Pictures Classics expanded Woody Allen’s Midnight in Paris to 258 screens and the comic fantasy starring Owen Wilson and Rachel McAdams reached $50,614,946 in total earnings as Allen’s biggest North American hit by far.

The Morning Feed: ‘Paradise Lost’ Filmmakers witness the release of the West Memphis 3

August 20, 2011
By

'Paradise Lost 3: Purgatory'

Filmmakers Joe Berlinger and Bruce Sinofsky were in a Jonesboro, Ark. court yesterday to witness the release of prison inmates Jason Baldwin, Damien Echols, and Jessie Misskelly after 18 years in prison.

Known as the West Memphis 3 and subject of Berlinger and Sinofsky’s documentaries Paradise Lost: The Child Murders at Robin Hood Hills and Paradise Lost 2: Revelations, the three men were finally released and cleared of the 1993 murders of three eight-year-old boys discovered in a muddy creek in the Robin Hood Hills area of West Memphis, Ark.

Berlinger and Sinofsky recently finished Paradise 3: Purgatory, about the long appeals process for the West Memphis 3 and the discovery of new evidence in the case, set to debut next month at the Toronto International Film Festival (TIFF).

For the filmmakers who have documented the story from the beginning and consistently advocated for the release of the West Memphis 3, Friday’s events were gratifying beyond words.

“Today, we, along with HBO, are humbled to be part of this remarkable outcome,” Sinofsky said in a release.

Sinofsky and Berlinger planned to change the ending of Paradise Lost 3: Puragtory in time for its New York Film Festival (NYFF) screening.

HBO also announced a theatrical release for Paradise Lost 3: Purgatory prior to its 2012 broadcast premiere to qualify the film for an Oscar nomination.

Meanwhile, director Atom Egoyan prepped for a spring 2012 production start on a dramatic film based on Paradise Lost: The Child Murders at Robin Hood Hills.

“I’m just tired. This has been going on for 18 years,” Damien Echols said after his release.

Jonathan Glancey previewed Belfast’s Titanic Visitor Center by Dublin-based Todd Architects in The Guardian and described the post-modern behemoth as “the prow of a ship crashing into an iceberg.” The Titanic Visitor Center was built to be the first tenant in a Belfast urban development that includes high-tech industry, colleges and offices.

The Montreal-based singer Grimes, known off stage as 22-year-old Claire Boucher, recently wrapped a tour with Lykke Li and won over fans with her psychedelic EP Geidi Primes and her 12-inch single Darkbloom.

She spoke with Paper Magazine before appearing at PS1’s Warm Up party in Queens and described how she hoped her Go-Fi music would impact listeners.

“Well I have my ideas of what it’s best for,” Grimes told Paper. “I mean, I just want somebody to feel something when they hear it and to maybe to remove themselves from its cultural relevance or something. Just hear it as something moving and extremely emotional.”