March 11, 2018

Michael Caine Says He Won’t Work With Woody Allen Again

Michael Caine has joined the growing list of actors who say they won’t work with Woody Allen again. He won an Academy Award for his role in the filmmaker’s “Hannah and Her Sisters” and says he doesn’t regret that collaboration, but it appears their working relationship is officially over. Allen has been accused of molesting his adopted daughter Dylan Farrow, a claim he denies.

“I am a patron of the NSPCC [National Society for the Prevention of Cruelty to Children] and have very strong views about pedophilia,” Caine tells the Guardian in a new interview. “I can’t come to terms with [the allegation], because I loved Woody and had a wonderful time with him. I even introduced him to Mia [Farrow]. I don’t regret working with him, which I did in complete innocence; but I wouldn’t work with him again, no.”

Other actors who say they won’t work with Allen again include Greta Gerwig, Rebecca Hall, David Krumholtz, and Ellen Page. His next film, “A Rainy Day in New York,” is scheduled to be released later this year.

Source: IndieWire film

March 11, 2018

SXSW: Barry Jenkins Delivers the Speech He Wanted to Read When ‘Moonlight’ Won Best Picture

Barry Jenkins didn’t get to deliver the speech he wanted to give at the Oscars last year. It’s easy to understand why: “Moonlight” wasn’t initially announced as the winner of Best Picture, and so when he came onstage for the second time that night he was too flustered to read his prepared remarks.

Just now at South by Southwest, Jenkins finally rectified that.

“Tarell [Alvin McCraney, co-writer] and I are Chiron. We are that boy. And when you watch ‘Moonlight,’ you don’t assume a boy who grew up how and where we did would grow up and make a piece of art that wins an Academy Award — certainly don’t think he would grow up to win Best Picture,” he said while delivering a Keynote at SXSW.

“I’ve said that a lot and what I’ve had to admit is that I placed those limitations on myself. I denied myself that dream. Not you, not anyone else — me. And so, to anyone watching this who sees themselves in us, let this be a symbol, a reflection that leads you to love yourself. Because doing so may be the difference between dreaming at all and somehow, through the Academy’s grace, realizing dreams you never allowed yourself to have.”

Jenkins covered a lot of ground during his hourlong speech, beginning the story of his cinematic journey with his love of “Die Hard” (“the greatest Christmas movie ever made”) and the questions he had as the credits rolled: “What’s a grip?” He eventually realized he wanted to be one of those names, and so he switched from studying creative writing to film at Florida State University.

It was there that Jenkins directed “My Josephine,” an ambitious eight-minute short that he touched on several times throughout his Keynote and encouraged anyone listening to watch if they hadn’t already:

Jenkins’ speech ended similarly to how it began, with an anecdote about making “Moonlight” that he said “floored” him. While shooting the film on location in Miami one day, he noticed that a few of the young black actors were looking at the monitors and wearing his headphones to see the footage that had been shot. Something had changed: Now, perhaps, they could imagine themselves going on to make a movie whose success surpasses their greatest dreams.

Source: IndieWire film

March 11, 2018

‘Fast Color’ Review: Another Empowering Black Superhero Movie, But Don’t Expect ‘Black Panther’ — SXSW 2018

The catchy spin on “Fast Color” is that it’s another black superhero movie, and a woman is the hero. Entering circulation just days after “Black Panther” crossed $1 billion at the box office. However, “Fast Color” is something far stranger and subtler than the MCU, providing an allegorical story about generations of black women who are forced to suppress their strengths, and the mounting courage they find in finally taking charge.

The second feature from director Julia Hart (“Miss Stevens”) has a solemn, hypnotic quality, hovering between the profound ramifications of its intimate story and the hints of an otherworldly drama. Co-written with her husband and producer Jordan Horowitz, the movie presents a fresh variation on the superhero story, a near-future setting that may as well take place in the same dystopian landscape where “Logan” found its own wayward mutant hiding from the world. However, while the Wolverine gave up on his responsibilities long ago, Ruth (Gugu Mbatha-Raw) has yet to fully comprehend them.

A broken, lonely recovering drug addict on the lam from government forces, Ruth roams through sleepy truck stops and empty roads, with bandages on her hands pointing to a disturbing past. The nature of her talents only gradually comes into view, but she appears to turn material objects into dust with little more than a glance. That uncanny ability leads a government agent (Christopher Denham) to chase her down, giving her a ride before revealing her identity. Their tussle marks the only genuine action this slow-burn character study. Though the supernatural component of “Fast Color” turns on CGI trickery, the ensuing drama is more intimate in scope.

Following a taut, messy showdown, Ruth escapes the man’s clutches and finds her way on foot to her old family home, an isolated safe house where her mother Bo (a terrific Lorraine Toussaint) has been quietly raising Ruth’s daughter Lila (Saniyya Sidney), who never knew her mother in adolescence. The family’s tortured history, dormant for decades, reaches a tipping point as mothers and daughters must confront a destiny that has eluded them for ages. When a benevolent local sheriff (David Strathairn) takes in an interest in the family for reasons only clear later on, Ruth realizes the clock is ticking and does her part to heal a rift that destroyed her life.

Ultimately, “Fast Color” turns on abandonment issues, the specter of addiction, and racial prejudice. These potent themes imbue “Fast Color” with a gravitas that transcends its odd premise. Though the storytellers are white, there’s no sense that the drama has been sanitized by an outsider’s point of view — in part because Mbatha-Raw gives her best performance since “Beyond the Lights,” combing an air of melancholy with tough exterior. The movie sometimes struggles from assumed importance, but the screenplay doesn’t shy from approaching that concern through the perspective of young Lila, who can’t understand why the family’s powers must remain off the grid. (“Isn’t that narcissistic?” she asks, struggling to get the word right.)

While the special effects show the limitations of a modest budget, they benefit from the movie’s poetic, metaphorical qualities. Ruth struggles from debilitating seizures that cause the ground around her to quake, and while those abilities cause the all-white authorities to deem her a threat, they sharply illustrate an inner turmoil bubbling to the surface. And there’s no doubting the representational value of one scene in which gun-wielding white men have their weapons rendered useless by a powerful black woman. When clouds gather and bright, psychedelic visuals fill the sky, “Fast Color” becomes a fascinating poetic rumination on how the perception of one world coming to an end can lead to the start of a better one.

“Fast Color” often struggles to make its soapy family dynamic as involving as the ethereal nature of Ruth’s abilities, and the screenplay struggles to find words as sophisticated as its alienated world. Nevertheless, its somber, whispery tone suggests “No Country for Old Men” reframed from a long-neglected perspective. Set against staggering orange-hued desert landscapes and night scenes bathed in black and blue, the movie’s earnest ambitions yield a haunting quality that often rescues it from the pratfalls of underwritten exchanges.

“The world’s gonna die,” Ruth muses early on. “We knew this would happen.” But “Fast Color” overcomes that prognosis by charting a new beginning. Despite some obvious budgetary constraints and irksome plot holes, the movie strives to provide an alternative vision of the superhero narrative tied to the genuine experiences of people learning to come out of their shells and confront a new future for blackness, motherhood, and women taking charge. It’s not a superhero movie by any standard definition, but Ruth’s journey is a heroic one all the same.

Grade: B

“Fast Color” premiered in the Narrative Spotlight section of the 2018 SXSW Film Festival. It is currently seeking U.S. distribution.

Source: IndieWire film

March 11, 2018

‘The Death of Stalin’ Lives as the First Big Specialized Opener of 2018

New blood! “The Death of Stalin” came along just in time to replace the aging awards titles that dominated the specialized world since October. In its initial two-city platform, audiences embraced the unlikely comedy involving a group of famous Soviet figures who plan to kill the Communist despot. Maybe the Oscar hangover won’t be so bad this year.

Two other wider releases — “The Leisure Seeker” and “Thoroughbreds” — had larger grosses, but far lower per-theater averages. Neither suggest much traction.

Opening

The Death of Stalin (IFC) – Metacritic: 88; Festivals include: Toronto 2017, Sundance 2018

$181,308 in 4 theaters; PTA (per theater average): $45,307

Armando Iannucci’s early-1950s, Moscow-set comedy that surrounding plotting and maneuvers at the dictator’s demise is the first 2018 platform release to suggest crossover appeal. The $45,000 PTA in four New York/Los Angeles theaters is impressive; it’s just behind “The Grand Budapest Hotel” and “While We’re Young,” both in March 2014. “Stalin” more than doubled the starts for same-month openers “Eye in the Sky” and “Hello, My Name Is Doris” two years ago, both of which went on to good mid-teens.

“Stalin” has perhaps a more big-city feel; its cast includes Steve Buscemi in the unlikely role of Nikita Khrushchev, Jeffrey Tambor, Michael Palin, and Paddy Considine among the Politburo plotters. Strong reviews helped, but the title — it hardly sounds like a comedy — represented a marketing challenge. The hook came from director-writer Iannucci, and his return to movies after his success as creator of “Veep.” That hit HBO show confirmed his reputation for political satire after “In the Loop” (2009), another IFC release.

What comes next: Top 10 markets add on this week, with other large cities the following and broader beyond that.

The Leisure Seeker (Sony Pictures Classics) – Metacritic: 46; Festivals include: Venice, Toronto 2017

$119,573 in 28 theaters; PTA: $4,270

Returning to theaters after one-week qualifying runs in New York and Los Angeles late last year, this older-audience comedy about a retired couple’s journey down the East Coast in an aging RV did best where the audience resembled the cast. The two best theaters in its 10-market, 28-theater break were in Phoenix and Orange County, Calif. Saturday (a bigger senior audience night) was up enough to suggest some interest. With Helen Mirren and Donald Sutherland as the leads, expect this to gain a foothold as it expands, though it might be a challenge to hold on to some of the initial theaters.

What comes next:With less competition and SPC’s usual aggressive push, it should be available in all decent-size areas before long.

Courtesy of Sundance

Thoroughbreds (Focus) – Metacritic: 76; Festivals include: Sundance, Hamptons, AFI 2017

$1,225,000 in 549 theaters; PTA: $2,229

This female film noir comedy, centered around a murder plot amid lush Connecticut surroundings, scored one of the top buys at Sundance 2017, where it premiered in the U.S. Dramatic section. More than a year later, it received a significant national release. Its young cast with Olivia Cooke and Anya Taylor-Joy (as well as Anton Yelchin’s final performance) served as a reason to bypass traditional platforming. The result was modest, with enough gross to ensure second-week play but not enough to suggest further expansion. This should end up with a gross under its $5 million acquisition cost, much less added marketing expense.

What comes next: Similar offbeat films with dangerous young female characters have gone on to post-theatrical cult status.

Claire’s Camera (Cinema Guild)- Metacritic: 80; Festivals include: Cannes, AFI 2017

$11,843 in 1 theater; PTA: $11,843

South Korean director Hong Sang-soo’s brief (69 minute) story of a fired movie sales agent assistant’s encounters in Cannes (including extended time with previous Hong actress Isabelle Huppert) had a strong initial showing at Manhattan’s Film Society of Lincoln Center. Excellent reviews and the director’s growing reputation helped, putting this above many subtitled releases. This gross is particularly encouraging given the current demise of Lincoln Plaza Cinemas, once the site of choice for high-end foreign releases.

What comes next: Select big-city and other dates roll out later this month, with Los Angeles opening March 30.

Leaning Into the Wind: Andy Goldsworthy (Magnolia) – Metacritic: 75; Festivals include: San Francisco, London 2017

$(est.) 20,000 in 4 theaters; PTA: $(est.) 5,000

This is Thomas Riedelsheimer’s second film about the British artist; the 2001 “Rivers and Tides: Andy Goldsworthy Working with Time” saw an adjusted gross over $3 million. This covers Goldsworthy’s more recent land-centered creations and designs. Its initial New York/Los Angeles/San Francisco four-theater start yielded modest results. But films about creative forces tend to find response in wider release, which this one will see.

What comes next: A planned expansion starts this week.

Itzhak (Greenwich) – Metacritic: 65; Festivals include: Hamptons 2017, Palm Springs 2018

$14,442 in 2 theaters; PTA: $7,221

This documentary on iconic violinist Itzhak Perlman is getting a theatrical release before its PBS premiere on American Masters. Opening initially in two Manhattan locations, it got off to a respectable start, with a particularly strong Saturday uptick.

What comes next: Expect at least 50 theaters, leading off with five in Los Angeles, Houston, and a New York outlying expansion next Friday.

Week Two

Foxtrot (Sony Pictures Classics)

$29,757 in 6 theaters (+2); PTA: $4,960; Cumulative: $112,569

Two outlying Los Angeles theaters were added to the initial two-city platform for this acclaimed Israeli drama about parents of a soldier going through a rollercoaster experience over his fate. The gross only declined slightly from its four-theater opening, which suggests some positive initial reaction. Expect this to get the usual SPC major market expansion and support, and some strength where Israeli films often thrive.

 

Ongoing/expanding (grosses over $50,000)

The Shape of Water (Fox Searchlight) Week 16

$2,407,000 in 1,552 theaters (+750); Cumulative: $61,000,000

To the victor, the spoils. While nearly all other winners declined steeply in theater counts, the Best Picture winner more than doubled its count. Still, particularly with its own initial limited home viewing date set for this Tuesday, Guillermo del Toro’s film should head toward a $5 million increase and around $65 million in theatrical domestic gross. That’s the highest of any top winner since “Argo.”

Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Week 18; also streaming

$705,000 in 552 theaters (-218); Cumulative: $53,350,000

Credible result considering its multi-platform streaming and other home viewing available.

Call Me By Your Name (Sony Pictures Classics) Week 16

$304,228 in 309 theaters (-605); Cumulative: $17,467,000

Just before it becomes available for home viewing, the Oscar Adapted Screenplay winner added some final gross to its total, which should be about $18 million.

A Fantastic Woman (Sony Pictures Classics) Week 6

$287,277 in 166 theaters (+77); Cumulative: $1,173,000

The Chilean Foreign Language Oscar winner got a boost, but less than expected. “The Salesman,” last year’s recipient, saw a per-theater average of $2,183, with a gross of $251,000 in 41 fewer theaters. Even with elevated attention and strong hook (the transgender story and its lead actress here), subtitled films continue to struggle. Word of mouth, along with little short-term competition, could still give it the boost it deserves.

Darkest Hour (Focus) Week 16; also streaming

$280,000 in 245 theaters (-668); Cumulative: $56,103,000

After Gary Oldman’s win for Best Actor, some minor additonal receipts for this Churchill 1940 drama that grossed more than “Three Billboards” and less than $10 million under the Best Picture winner.

Courtesy of NEON

I, Tonya (Neon) Week 14; also streaming

$263,471 in 243 theaters (-268); Cumulative: $29,510,000

An impressive run for this title only acquired six months ago, then propelled into a Supporting Actress win and a gross that’s quadruple any previous Neon release.

Phantom Thread (Focus) Week 11; also streaming

$245,000 in 184 theaters (-541); Cumulative: $20,723,000

It’s Paul Thomas Anderson’s best-grossing film since “There Will Be Blood.” Still only in theaters.

Lady Bird (A24) Week 19; also streaming

$200,035 in 156 theaters (-554); Cumulative: $48,728,000

Nearing the end of almost five months in theaters, Greta Gerwig has a major success despite no Oscar wins.

The Party (Roadside Attractions) Week 4    92-385

$98,925 in 91 theaters (-1); Cumulative: $483,723

Sally Potter’s London dinner party ensemble-cast comedy dropped only about 20 percent this week, but individual grosses remain minor.

Loveless (Sony Pictures Classics) Week 4

$54,132 in 37 theaters (+12); Cumulative: $303,406

Post Oscars, the Russian Foreign Language contender will need to build on very good reviews as it expands. Grosses remain modest.

Also noted:

2018 Oscar Nominated Shorts (Magnolia) – $(est.) 46,000 in 42 theaters; Cumulative: $(est.) 3,447,000; also streaming

Film Stars Don’t Die in Liverpool (Sony Pictures Classics) – $21,976 in 41 theaters; Cumulative: $811,321

The Insult (Cohen) – $19,762 in 16 theaters; Cumulative: $904,496

The Young Karl Marx (The Orchard) – $11,829 in 13 theaters; Cumulative: $79,724

Faces Places (Cohen) – $10,267 in 12 theaters; Cumulative: $921,919

Source: IndieWire film