November 12, 2017

AFI FEST Announces ‘Molly’s Game’ as New Closing-Night Film, Replacing ‘All the Money in the World’

Less than a week after announcing that Ridley Scott’s “All the Money in the World” will no longer serve as its closing-night film, AFI FEST has announced that Aaron Sorkin’s directorial debut “Molly’s Game” will now close the festival. The film, which stars Jessica Chastain as the real-life proprietor of a high-stakes poker game, had already been announced as part of AFI FEST but will now get pride of place as the final film to screen during the weeklong event.

Paul Thomas Anderson’s “Phantom Thread” and Steven Spielberg’s “The Post” had both been mentioned by festival-goers as potential replacements, which was probably wishful thinking; neither film is expected to screen until after Thanksgiving. “All the Money in the World” was pulled after several men accused star Kevin Spacey of sexual misconduct, and the actor’s scenes are now being reshot with Christopher Plummer in his stead.

The screening of “Molly’s Game” — which also stars Idris Elba, Kevin Costner, Michael Cera, Jeremy Strong, Chris O’Dowd, Bill Camp — will be preceded by a tribute to Sorkin.

“Aaron Sorkin is an American master, and we are proud to shine a proper spotlight on his directorial debut, MOLLY’S GAME, on AFI FEST’s Closing Night,” said Jacqueline Lyanga, AFI FEST Director, in a statement. “As Sorkin embarks on this next chapter of his career, his talents are timely for a tribute as he brings his gift of crafting compelling narratives and complex characters to the story of female impresario Molly Bloom.”

Source: IndieWire film

November 12, 2017

Nine Women Allege ‘Sexual Harassment, Degradation and Bullying’ at Zentropa, Lars von Trier’s Production Company

Nine women have come forward to speak about their experiences with “sexual harassment, degradation and bullying” at Zentropa, the Danish production company co-founded by Lars von Trier. Many of the accusations center around Peter Aalbæk Jensen, the company’s other founder, who is “highlighted by several sources one of the main figures perpetuating the system of degradation.”

These women offered their accounts to Politiken, one of the oldest and most widely read newspapers in Denmark. One of them, Meta Louise Foldager Sørensen, worked on such films as “Antichrist” and “Melancholia” and claims that “I think that everyone who has been employed by Zentropa has been exposed to or witnessed certain things. Both sexually charged acts and bullying or ‘teasing’. All of this was an ingrained part of the culture.”

Former employees claim that Jensen “would grope their breasts time and again. Get close and start moaning while they were on the phone” and “even arranged several sexually degrading acts on stage at the company Christmas party in front of guests from the film industry.”

Von Trier and and Jensen formed Zentropa in 1992, eventually growing it into Scandinavia’s largest film-production company. It played a key role in the Dogme 95 movement and more recently produced “The Hunt,” “A Royal Affair,” and “Nymphomaniac,” among others.

“There have been plenty of times when I’ve been over the top or gone too far,” Jensen told the paper. “And I stand by that fully. But the question is whether you are an adored leader or not. And I am an adored leader.” Read the full report here.

Todays front page @politiken – in English. 9 women have decided to come forward: Sexual harassment & degradation of mainly female employees have been an ingrained part of the renowned film company Zentropa (Lars von Trier & Peter Aalbæk Jensen) for decades https://t.co/G9yH4i08YT

— Kristian Corfixen (@kcorfixen) November 11, 2017

Source: IndieWire film

November 12, 2017

‘All the Money in the World’ Reshoots Will Probably Cost More Than $10 Million

Ridley Scott’s decision to replace Kevin Spacey with Christopher Plummer in “All the Money in the World” won’t be cheap. Variety reports that the unprecedented move, which came in reaction to numerous accusations of sexual misconduct being made against the Oscar-winning actor, “will likely be north of $10 million to the film’s budget.”

That’s quite the sum, especially considering the film’s production budget was already reported at $40 million. The reshoots are expected to take between eight and 10 days and involve Michelle Williams (who’s currently shooting “Venom”) and Mark Wahlberg (who’s promoting “Daddy’s Home 2”).

“All the Money in the World” was originally set to have its world premiere at AFI Fest this Thursday, November 16; that screening has been canceled, but Scott and Sony still plan to have the film ready in time for its scheduled release of December 22.

Source: IndieWire film

November 12, 2017

‘Three Billboards’ Joins ‘Lady Bird’ as a Female-Centric Specialized Smash

For the second straight weekend, a strongly reviewed new film with a central female character broke through the clutter of this mixed fall season to great success. “Three Billboards Outside Ebbing, Missouri” (Fox Searchlight) joined “Lady Bird” (A24) as the best starts among the many top titles vying for attention, and both did so by a wide margin above other films. “Lady Bird” added other top cities and proved its first week was no fluke, showing results unequaled since “La La Land” last year.

The grosses in both cases are early results, but the films look in prime position for both greater success and maximum attention just as the awards jockeying is reaching high gear. And given that both are female-centered, and not historical figure-based like so many other titles, makes them even more vital at the moment.

Opening

Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Metacritic: 86; Festivals include: Venice, Toronto 2017

$320,000 in 4 theaters; PTA (per theater average): $80,000

Fox Searchlight’s best platform opener since “Birdman” three years ago fell slightly below the even stronger performance of “Lady Bird” last weekend. Close in this case counts, as the initial gross for Martin McDonagh’s acclaimed comedy/drama about a woman seeking justice responded to very good reviews, including plenty of attention for Frances McDormand’s performance.

This initially appears to have much greater appeal than the British director’s earlier “In Bruges” (adjusted almost $10 million in 2008) or his wider released “Seven Psychopaths” (close to $17 million). The early numbers position it strongly going into the awards derby as Searchlight returns to form after a series of under performing films, with Guillermo Del Toro’s “The Shape of Water” still to come.

What comes next: 12 new theaters add this Friday, with a Thanksgiving run of over 400 theaters planned.

Thelma (The Orchard) Metacritic: 75; Festivals include: Toronto 2017, New York 2017

$12,358 in 1 theater; PTA: $12,357

Eclectic Norwegian director Joachim Trier returned to his native country after testing American waters with “Louder Than Bombs.” That Jesse Eisenberg/Isabelle Huppert starring New York-set film also was released by The Orchard. While not helped by the unheard of running of a favorable New York Times review on Saturday, not Friday, “Thelma” grossed more than half as much as the earlier film, despite playing at only one rather than four theaters initially. It’s a decent initial response for a subtitled film these days, and helps its cause as its country’s Oscar submission.

What comes next: Los Angeles in next on Nov. 24

A24

Week Two

Lady Bird (A24)

$1,249,000, in 37 theaters (+33); PTA: $33,766; Cumulative: $1,781,000

Greta Gerwig’s film started out as the strongest limited specialized opener of the year. Its second week big city expansion now is easily the top at this point since “La La Land” last year. The per theater average is substantially higher than other specialty hits this year: “The Big Sick” averaged $23,200 in almost double the number of theaters (bringing down the per theater take), while this is more than double what of “Wind River” in its second weekend at a similar theater count. It is 30 per cent or more ahead of what “Moonlight” and “Ex-Machina,” A24’s two biggest initially limited release titles, had done ten days into their releases.

With award citations beginning in its near future and a rapid expansion to initially go wide over Thanksgiving, this looks on track to be the distributor’s biggest success yet and potentially vie with “The Big Sick” ($42 million) as the top specialized film, at least among those released to this point.

Last Flag Flying (Lionsgate)

$172,000 in 32 theaters (+28); PTA: $5,375; Cumulative: $241,773

Veteran’s Day weekend saw a big city widening for Richard Linklater’s latest. Amazon Studio’s latest, about three vets reuniting when the son of one dies in Iraq, continues to struggle to find interest. In five fewer theater than “Lady Bird,” it did only about one sixth as much business per theater (which though is a better ratio than last week in four locations.) It remains possible that as this moves into mid-America its prospects could still improve, but it has a long way to go before it gains traction.

Castle Rock Entertainment

LBJ (Electric)

$(est.) 500,000 in 608 theaters (-51); PTA: $(est.) 833; Cumulative: $(est.) 2,076,000

Rob Reiner’s biopic about the 36th president dropped from its already weak start, with a third term out of reach.

My Friend Dahmer (FilmRise)

$190,000 in 45 theaters (+41); PTA: $4,222; Cumulative: $243,207

The interest shown last weekend in the initial dates for this graphic novel adaptation continues in its quick second week expansion. These again are quite credible grosses and suggest wider interest ahead.

1945 (Menemsha)

$20,920 in 2 theaters (no change); PTA: $10,460; Cumulative: $58,875

This Hungarian film about a Holocaust survivor’s return home continued its two initial Manhattan runs with a continued decent result.

Blade of the Immortal (Magnolia); also available on Video on Demand

$18,000 in 25 theaters (-6); PTA: $720; Cumulative: $98,581

Cult director Takashi Miike’s 100th film continues in select theaters while also streaming

Ongoing/expanding (Gross over $50,000)

Let There Be Light (Atlas) Week 3

$1,094,000 in 773 theaters (+131); Cumulative: $5,919,000

Kevin Sorbo’s latest faith-based polemic added more theaters but saw a 35 per cent drop. Its nearly $6 million gross though has been impressive.

Victoria & Abdul (Focus) Week 8

$675,000 in 637 theaters (-159); Cumulative: $21,537,000

The Judi Dench express continues with her latest still adding gross as it ends its second month in release.

The Florida Project (A24) Week 6

$579,370 in 229 theaters (+40); Cumulative: $3,839,000

Sean Baker’s acclaimed title continues to find interest as it slowly expands. It has continued to be on of the top fall performers, although not yet a crossover title in most situations. At this point, the somewhat similar “Beasts of the Southern Wild” had grossed an adjusted $6.7 million in a similar total theater count by its sixth weekend. But that film had its late summer play time see considerably less competition among adult fare.

Loving Vincent (Good Deed) Week 8

$515,140 in 212 theaters (+7); Cumulative: $3,934,000

This hybrid animated film is the most original biopic of the year, and its unique take on telling the story of the troubled Vincent Van Gogh keeps showing strength with only a small drop once again. This looks to have a shot at reaching $6 million or better.

The Killing of a Sacred Deer (A24) Week 4

$476,243 in 238 theaters (+152); Cumulative: $1,559,000

The third film in A24’s busy current slate, Yorgos Lanthimos’ typically offbeat European-set drama with Nicole Kidman and Colin Farrell, isn’t showing interest at this point at quite the same level as their two other films in release. It has widened quickly and looks to have reached most of the theaters where it might find interest.

Marshall (Open Road) Week 5

$419,425 in 596 theaters (+82); Cumulative: $8,464,000

Open Road has been sticking with this biofilm of the early career of the Supreme Court Justice, and it seems to have been worth it. They increased the dates this week, with the result of a small 17 per cent drop in gross. They have maximized its potential even if the result has been less than they might have hoped for.

Mary Cybulski

Wonderstruck (Roadside Attractions) Week 4

$245,220 in 261 theaters (+140); Cumulative: $825,262

Todd Hayne’s latest film, from Amazon Studios, had a substantial expansion with still the same minimal results seen in its initial weeks.

Jane (Abramorama) Week 4

$228,876 in 96 theaters (+41); Cumulative: $825,033

As in earlier weeks, this documentary about Jane Goodall and footage of her primates continues to find wider appear as it expands.

Goodbye Christopher Robin (Fox Searchlight) Week 5

$180,000 in 196 theaters (-66); Cumulative: $1,523,000

Another biopic — this time about how “Winnie the Pooh” came to be — has not attracted much of an audience, and is now losing theaters. It is likely to get to at best around $2 million.

The Square (Magnolia) Week 3

$156,156 in 50 theaters (+29); Cumulative: $447,239

This Swedish comedy and Cannes top prize winner continues to perform ahead of most subtitled films. It is expanding more quickly than most similar titles, and continues to get a respectable response as it reaches more cities.

Battle of the Sexes (Fox Searchlight) Week 8

$95,000 in 103 theaters (-55); Cumulative: $12,480,000

The Emma Stone-Steve Carell retelling of the Billie Jean King/Bobby Riggs tennis match carries on a theaters still as it completes what was quite a wide run with a mixed result.

The Noviatiate (Sony Pictures Classics) Week 3

$55,206 in 29 theaters (+13); Cumulative: $166,052

This 1960s American-set story of a nun in training isn’t getting much initial interest as it slowly expands to top cities.

Also noted

Faces Places (Cohen) – $32,207 in 20 theaters; Cumulative: $424,414

Wind River (Weinstein) – $30,339 in 86 theaters; Cumulative: $33,752,000

Lucky (Magnolia) – $30,000 in 45 theaters; Cumulative: $887,323

The Human Flow (Magnolia) – $21,000 in 23 theaters; Cumulative: $404,175

Breathe (Bleecker Street) – $17,059 in 32 theaters; Cumulative: $454,343

Bill Nye: Science Guy (PBS) – $14,350 in 1 theater; Cumulative: $22,186

BPM (Beats Per Minute) (The Orchard) – $10,703 in 20 theaters; Cumulative: $56,246

Mark Felt: The Man Who Brought Down the White House (Sony Pictures Classics) – $9,295 in 16 theaters; Cumulative: $755,541

Source: IndieWire film

November 12, 2017

Gal Gadot Won’t Make ‘Wonder Woman 2’ if Brett Ratner Is Involved — Report

Gal Gadot won’t be involved with the “Wonder Woman” sequel if Brett Ratner is too. That’s according to Page Six, who report that the action heroine wants to distance both herself and the franchise she stars in from a man accused of sexual harassment by several women.

“Brett made a lot of money from the success of ‘Wonder Woman,’ thanks to his company having helped finance the first movie,” a source told Page Six. “Now Gadot is saying she won’t sign for the sequel unless Warner Bros. buys Brett out [of his financing deal] and gets rid of him.”

Prior to the publication of several accusations against Ratner, Gadot canceled her appearance at a dinner where she was scheduled to present him an award.

“She’s tough and stands by her principles. She also knows the best way to hit people like Brett Ratner is in the wallet,” the source added. “She also knows that Warner Bros. has to side with her on this issue as it develops. They can’t have a movie rooted in women’s empowerment being part-financed by a man ­accused of sexual misconduct against women.”

Gadot had also made an Instagram post in the wake of the Harvey Weinstein scandal, writing, “Bullying and sexual harassment is unacceptable! I stand by all the courageous women confronting their fears and speaking out. Together we stand. We are all united in this time of change.”

Source: IndieWire film