February 21, 2018

Video Tutorial: 5 Transitions You Should Start Using

You’ve got solid video, clean audio, and the perfect color grade. So don’t blow your edit with uninteresting transitions.
Source: CW’s Flipboard Feed

February 18, 2018

Charlyne Yi Accuses Marilyn Manson of Sexual Harassment, Says He Called Her ‘China Man’

In a series of tweets that have since been deleted, actress Charlyne Yi accuses Marilyn Manson of sexual harassment on the set of “House” during its final season. “Yes this happened a long time ago — on the last season of House he came on set to visit because he was a huge fan of the show & he harassed just about every woman asking us if we were going to scissor, rhino & called me a China man, she wrote”

“It’s so triggering to see people come up on the internet who have harassed you,” Yi continued. “And then when you talk about the incidents you become known as the person tied to the harasser. And that’s just your name from now on. It almost overrides who you are.” “I genuinely hope he gets help,” she wrote in a follow-up tweet, seemingly in regards to reports that Manson had a “breakdown” onstage and abruptly ended a concert early on Thursday night.

In addition to her role on “House,” Yi is best known for her appearances in “Knocked Up,” “Cloverfield,” and “Paper Heart,” for which she won a screenwriting award at the 2009 Sundance Film Festival.

Source: IndieWire film

February 18, 2018

‘The Last Thing He Wanted’: Anne Hathaway May Team With ‘Mudbound’ Director Dee Rees for Joan Didion Adaptation

Now that she’s received an Oscar nomination for bringing “Mudbound” to the screen, Dee Rees will soon be on to her next project: “The Last Thing He Wanted,” an adaptation of Joan Didion’s novel of the same name. The film will re-team Rees with producer Cassian Elwes and, if early word is to be believed, Anne Hathaway as well.

The Oscar winner would be playing Elena McMahon, a Washington Post reporter covering the 1984 presidential primaries who gets embroiled in arms-dealing conspiracy.

Didion is among the most acclaimed authors of her generation, but only one of her books has been adapted for film before: the devastating “Play It as It Lays.” Though best known for her nonfiction, like the essay collections “Slouching Towards Bethlehem” and “The White Album,” Didion has written several other novels: “Democracy,” “A Book of Common Prayer,” “Run River.” She also wrote several screenplays with her husband John Gregory Dunne, including “The Panic in Needle Park” and “A Star Is Born.”

Rees is up for Best Adapted Screenplay at the Academy Awards, and Hathaway will next be seen in “Ocean’s 8.”

Source: IndieWire film

February 18, 2018

‘Eva’ Review: Not Even Isabelle Huppert Playing an Irritated Prostitute Can Save this Limp Melodrama — Berlinale 2018

There was a minor kerfuffle during the Berlinale press conference for Benoît Jacquot’s “Eva” when a journalist asked star Isabelle Huppert how she achieved such a degree of eroticism in the film without getting nude. “You have a very bizarre idea of eroticism,” came the actress’ withering second-degree burn of a reply.

And, to Huppert’s credit, it was a ridiculous question. Ridiculous because French cinema has spent more than a century illustrating that T&A has precious little to do with screen sensuality, ridiculous because Huppert could make a Haneke movie feel erotic, and ridiculous because Jacquot’s overblown melodrama is a film about people who disguise themselves by how they dress.

A limp, sudsy adaptation of James Hadley Chase’s 1945 novel “Eve” (a potboiler that Joseph Losey once spun into a Jeanne Moreau vehicle of the same name), “Eva” begins with an engaging sequence that instantly sets the tone by subverting its own beauty. Sneering gigolo Bertrand Valade (Gaspard Ulliel, the overbearingly chiseled star of Bertrand Bonello’s “Saint Laurent”) arrives at the Paris apartment of an old gay writer, for whom he works as both an aide and an aspirational piece of ass.



The client is far too frail to take full advantage of his plaything — his body no longer seems capable of pleasure — but perhaps having such a beautiful young stud at his beck and call allows him to enjoy the faint aftertaste of desire. Alas, he asks for more than his heart can handle, and the mere sight of Bertrand removing his shirt causes the Booker Prize–winning playwright to have a fatal coronary in the tub. The brief moment when Bertrand hesitates to call for help finds Jacquot at his best, his screenplay marvelously shading in all the small ways in which its protagonist is a soulless ghoul.

The biggest of all Bertrand’s flaws, of course, is that he’s a thieving piece of shit. He doesn’t think twice before stealing his late client’s newly finished script right off his desk, chucking the writer’s laptop into the Seine in order to hide the evidence. Cut to: the closing night of “Bertrand’s” hit new play (which, from our brief glimpse of its final scene, appears to be hilariously bad). Our plagiarist has transformed himself from a sex worker into a socialite, suddenly dressing like Darren Aronofsky and looking every inch the trendy artiste that he secretly isn’t. He has a legion of fans, a stunning blonde fiancée (Julia Roy), and an overeager agent (Richard Berry), but all of them keep asking him the same question: What’s he going to write next?

With guilt and anxiety compounding his natural unpleasantness, Bertrand heads for the snowy hills of Annecy, where he has an unexpected encounter with a tetchy older prostitute (Huppert, acting like she has nothing to hide and resents those who do for wasting her time). It isn’t long before Bertrand is visiting Eva on the regular, slavishly writing down everything she says as material for his next play, no matter how banal their conversations might be.

He’s as incurious as you might expect, and the scenes between these two characters are awkwardly pitched between the excitement of an imbecile exploring the taboo, and a working girl doing her best to tolerate another customer. Eva is no-nonsense, Bertrand is all nonsense — she is creating a fantasy in order to protect her truth, while he is exposing his truth in order to protect his fantasy — but there’s strangely little sense that Bertrand was once an escort himself. We’re never privy to any of the sex they have (we hardly see them touch), and the more that Eva treats Bertrand like a pesky reporter, the clearer it becomes that Bertrand’s only hope for telling a good story is to live it himself.

Alas, Jacquot eliminates any hope of that, as Bertrand soon becomes as tiresome for us as he’s always been for Eva. While Ulliel successfully conjures something of a “Talented Mr. Ripley” mystique, Huppert sees right through it; once we look at him through her eyes, there isn’t much left to see. Bertrand’s disguise is as flimsy and disposable as the wig that Eva wears on the job, but for him there’s nothing underneath. It’s such a chore to watch him confront the obvious fact of his lie that Jacquot eventually just ignores it altogether.

By the time we arrive at the thuddingly banal third act, the suspense of whether or not Bertrand will be able to write anything has vanished completely. From there, the film devolves into empty piques of delusional rage, each of the other characters discovering they’ve been swindled by a handsome man in a nice peacoat. Only Huppert remains on her feet, indomitable as ever. Her idea of eroticism is the only one the film has.

Moreover, “Eva” boasts little style beyond what its biggest star is able to bring to the table. Viewers hoping for more of the milquetoast elegance that Jacquot previously brought to the likes of “Farewell, My Queen” and “Diary of a Chambermaid” will be disappointed. Viewers hoping for something a little seedier — who are fooled by the Cinemax undertones of the film’s expectant first act — are in for a similarly rude awakening, as the movie hedges its bets between the gutter and the stars. For a film with so few secrets of its own to hide, “Eva” also offers little to see on the surface.

Grade: C-

“Eva” premiered in Competition at the 2018 Berlin International Film Festival. it is currently seeking U.S. distribution.

Source: IndieWire film

February 18, 2018

‘Unbanned: The Legend of AJ1’ Trailer: It’s Gotta Be the Shoes in This Documentary About Michael Jordan’s Sneakers — Watch

If you’ve watched basketball at any point in the last 30 years, you know that sneakers are serious business. We largely have Michael Jordan and the Air Jordans to thank for that, though the development hasn’t always been a positive one. The new film “Unbanned: The Legend of AJ1” looks set to explore that dynamic, and its first trailer dropped last night during All-Star Weekend. Watch below.

The film explores “the dynamic journey of the Air Jordan 1 shoe and its role in disrupting the NBA, changing the game of basketball, birthing sneaker culture and influencing a social and cultural revolution in sports, music, fashion, art, social behavior and, of course, sneakers.”

“The AJ1 is more than a shoe. It’s a symbol of a much greater meaning across genders, race, geography and time,” said writer/director Dexton Deboree in a statement. “Now more than ever, what this shoe represents, its impact on society and its role in really creating, defining and redefining a lot of our modern culture makes it a story that has to be told.”

Michael B Jordan, Spike Lee, DJ Khaled, Lena Waithe, and Anthony Anderson are among the interviewees. “Unbanned: The Legend of AJ1” will be released on July

Source: IndieWire film

February 18, 2018

‘Black Panther’ Squashes Specialty Box Office, Sally Potter’s ‘The Party’ Is Best of Limited Openers

As the specialized world begins to move past a rich diet of awards contenders — still providing the bulk of the gross — films from established directors opened in New York and Los Angeles this weekend, led by British auteur Sally Potter’s “The Party” (Roadside Attractions). Mark Pellington’s “Nostalgia” (Bleecker Street), with a similar strong ensemble cast, succumbed to weak reviews.

Russian foreign-language Oscar nominee “The Loveless” (Sony Pictures Classics) opened well for a subtitled release in two cities. While Francois Ozon’s sexy “Double Love” (Cohen Media) got off to a big-city national start during the week, the result is at the low end of the French director’s films.

With all the hype on the stronger-than-average results among this year’s Oscar nominees, comic book movie “Black Panther” in its first three days totaled more than the grosses for the entire runs of even top Best Picture nominees “Dunkirk” and “Get Out.” That’s where the money is, even with decent returns for most of the contenders. Unfortunately, outstanding reviews for the Marvel entry squashed the weekend results for more limited films.

Opening

The Party (Roadside Attractions) – Metacritic: 73; Festivals include: Berlin, Mill Valley 2017

$36,344 in 3 theaters; PTA (per theater average): $12,111

English pioneer Sally Potter directed her first feature nearly 35 years ago; she has yet to exceed the heights of her 1993 Sundance breakout “Orlando” starring Tilda Swinton, which yielded the equivalent of almost $12 million. This black-and-white 71 minute drawing room ensemble assembles a group of friends to celebrate the major political appointment of a woman (Kristin Scott Thomas) in the British government. But disconcerting news about her husband (Timothy Spall) changes the tone of the soiree. Her strong cast, including Patricia Clarkson and Emily Mortimer, likely elevated results.

The gross falls below 2013’s “Ginger and Rosa,” starring Elle Fanning, Christina Hendricks and Alessandro Nivola, which A24 opened to $43,000, also in three theaters.

What comes next: Additional major cities open this Friday.

Loveless (Sony Pictures Classics) – Metacritic: 88; Festivals include: Cannes, Telluride, Toronto 2017

$30,950 in 3 theaters; PTA: $10,317

The last of the Oscar foreign language releases to open for a regular run, Russian Alexey Zvyagintsev’s latest launched a bit above competitor “The Insult” ($8,000 PTA in three theaters) but below “A Fantastic Woman” and “The Square” in similar initial New York/Los Angeles dates. (Nominee “On Body and Soul” opened on Netflix). The total in three theaters is the same as the director’s earlier nominee “Leviathan” had in one less initial venue.

What comes next: three other major markets by Oscar weekend

Double Lover (Cohen) – Metacritic: 70; Festivals include: Cannes 2017, Santa Barbara 2018

$69,176 in 48 theaters; PTA: $; Cumulative: $88,210

Unusually for a French director these days, Francois Ozon has released at least 15 consecutive films in the U.S. since 2000. That puts him in a category with such non-English language directors as Pedro Almodovar. This romantic drama, like many of his films, has a sexual edge (a woman involved with twin therapist brothers). Cohen launched the film in multiple cities on Wednesday (Valentine’s Day) to minor response.

What comes next: This should open in other cities, but looks like it will be one of the director’s lesser performers.

Nostalgia (Bleecker Street) – Metacritic: 45; Festivals include: Palm Springs 2018

$20,667 in 3 theaters; PTA: $6,889

Another strong ensemble cast (Jon Hamm, Ellen Burstyn, Catherine Kenner, and Bruce Dern included) could not help this drama about the role of mementos and long-held belongings overcome mostly negative reviews in its New York/Los Angeles top theater initial dates.

What comes next: With its cast and Bleecker Street’s access to top theaters, this will see big city national dates ahead.

Western (Cinema Guild) – Metacritic: 77; Festivals include: Cannes, New York 2017

$(est.) 6,500 in 1 theater; PTA: $(est.) 6,500

German workers at a Bulgarian construction site face culture clash issues in this well-reviewed drama that opened to decent results at a small screen at New York’s Film Society of Lincoln Center.

What comes next: This looks like a mostly niche theater entry for upcoming limited screenings.

Tribeca

The Boy Downstairs (Film Rise) – Metacritic: 58

$6,000 in 1 theater; PTA: $6,000

This remeet cute romantic comedy (exes find themselves renting in the same Brooklyn apartment building) managed to get a sampling near home turf in its exclusive run at a lower Manhattan theater.

What comes next: Los Angeles opens this Friday.

International releases:

Monster Hunt 2 (Lionsgate)

$335,000 in 69 theaters; PTA: $(est.) 5,650

Detective Chinatown 2 (Warner Bros.)

$677,000 in 115 theaters; PTA: $5,889

Monkey King 3 (Well Go)

$(est.) 90,000 in 34 theaters; PTA: $(est.) 2,647

The placing of three Chinese-made general audience releases the same week is a rarity related to the global New Year celebration that is underway.  The first two were just released in China, with “Monkey King 3” only a week ago. (This time of the year in China is reserved exclusively for home-made titles, which explains why there’s no “Black Panther” yet in the world’s second-largest market.)

All three are sequels, as China is learning from U.S. studios. Two of the three are being released by U.S. majors as part of their interest in developing relations with the powerhouse country.

Wanda Pictures’ “Monster Hunt 2,” from the company which owns the largest North American exhibitor AMC, this weekend on opening day in China took in $97 million– $20-million more than “Black Panther”‘s opening day ($76 million) in North America this weekend.

Opening wider in the U.S., “Detective Chinatown 2” had a stronger result in U.S./Canada (both in total but also per theater average), likely because of its New York Chinatown setting.

The approximately $1.2 million total for around 200 dates, at the same time, is an impressive result for these films. They haven’t remotely broken out to wider audiences, but continue to provide additional income for select theaters in the right areas.

Week Two

The 2018 Oscar Nominated Shorts (Magnolia)   198-1067

$(est.) 520,000 in 198 theaters (no change); PTA: $(est.) 2,626; Cumulative: $(est.) 1,287,000

With two more weekends left until Oscar night, this three-program collection of short film nominees looks on track to gross the usual $2.5 million or so seen in previous years.

Ongoing/expanding (grosses over $50,000)

The Post (20th Century Fox) Week 9

$1,965,000 in 1,050 theaters (-815); Cumulative: $76,574,000

Steven Spielberg’s latest is now the top-grossing among his three films since “Lincoln,” leading among nominees in current weekend’s gross and headed for an $80 million-plus total.

The Shape of Water (Fox Searchlight) Week 12

$1,665,000 in 957 theaters (-853); Cumulative: $53,244,000

Falling like most of its awards rivals (as it sheds theaters now that the nomination surge has subsided), Guillermo del Toro’s science-fiction romance still looks headed for a $60 million or better total.

Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Week 15 (also streaming)

$1,500,000 in 780 theaters (-493); Cumulative: $47,970,000

The per theater average here actually looks to have gone up slightly in remaining theaters despite adding streaming this week. Fox Searchlight looks likely to end up with two $50 million-plus grossing domestic titles in a single year for the first time in its history.

Jack English

Darkest Hour (Focus) Week 13 (also streaming)

$895,000 in 602 theaters (-443); Cumulative: $53,342,000

Holding on to its very impressive position as top grossing initially limited 2017 release (“The Shape of Water” will overtake it imminently), the gross here actually is similarly impressive now that it has alternate home viewing possible.

I, Tonya (Neon) Week 11

$877,347 in 502 theaters (-586); Cumulative: $26,981,000

The remaining theaters for this Winter Olympics-centered biopic stay steady with the two acting category nominee looking likely to pass the $30 million mark.

Phantom Thread (Focus) Week 8

$680,000 in 335 theaters (-203); Cumulative: $17,822,000

Paul Thomas Anderson’s 1950s London fashion designer story remains a more niche item than most other top contenders this year, with its ultimate total looking to reach a little over $20 million.

Lady Bird (A24) Week 16 (also streaming)

$605,728 in 407 theaters (-244); Cumulative: $46,394,000

Still in theaters late in its fourth month, and still adding gross despite now available at home.

Call Me By My Name (Sony Pictures Classics) Week 13

$519,028 in 332 theaters (-123); Cumulative: $14,888,000

The countdown to the Oscars is keeping this high-end nominee steady (its modest per theater average remains about the same). This looks on target to end up close to $18 million, lowest among the Best Picture nominees.

Film Stars Don’t Die in Liverpool (Sony Pictures Classics) Week 8

$124,520 in 107 theaters (+68); Cumulative: $547,974

Annette Bening’s strong term as actress Gloria Graham continues to struggle to get much attention despite the lack of much other new specialized competition.

A Fantastic Woman (Sony Pictures Classics) Week 3

$86,419 in 29 theaters (+9); Cumulative: $360,620

SPC’s other Foreign Language Oscar entry is grossing about the same as its competitor “The Insult” when the latter was at the same number of theaters.

The Insult (Cohen) Week 5

$82,449 in 43 (-6) theaters; Cumulative: $584,339

Lebanon’s entry in the Oscar race is getting some national play, with the nomination raising it to a higher level than most subtitled releases.

Also noted:

1945 (Menemsha) – $33,512 in theaters; Cumulative: $312,944

Faces Places (Cohen) – $10,081 in 9 theaters; Cumulative: $842,137

Source: IndieWire film