April 22, 2018

NASA Scientists Think ‘Gravity’ Is the Worst, Most Inaccurate Space Movie Ever Made

“Gravity” earned critical acclaim, a slew of awards, and more than $700 million at the box office, which is to say that Alfonso Cuarón’s sci-fi drama was fairly successful. One subset of moviegoers wasn’t impressed, however: NASA scientists. In a BBC video in which the women helping us conquer the final frontier list the best and worst movies set in space, “Gravity” is repeatedly cited as the most inaccurate of them all.

Others to earn ire due to scientific inaccuracies are “Mission to Mars,” “Armageddon,” and “Red Planet”; “Planet of the Apes,” and “Spaceballs” receive (dis)honorable mentions as well. Alas, “Gravity” stands above all the others for being utterly divorced from reality. Everything that could go wrong went terribly, terribly wrong, and that’s not exactly the feeling we want everybody to have about this industry,” one scientist says.

It’s not all negative, however. “Interstellar,” “Hidden Figures,” “The Martian,” and especially “Apollo 13” receive praise.

Other issues with “Gravity,” which won Cuarón the Academy Award for Best Director: “how Sandra Bullock could move between orbits with almost really no issue” and the fact that, “when she gets out of her spacesuit, she’s in cute little underwear. Where’s the diaper?” Where, indeed.



Source: IndieWire film

April 22, 2018

John Carpenter Will Compose the Score for the New ‘Halloween,’ Jason Blum Confirms

Just because John Carpenter isn’t directing the newest “Halloween” movie doesn’t mean he won’t be involved. Producer Jason Blum has confirmed that Carpenter, who composed the music for the original 1978 slasher in addition to co-writing and directing it, will return to the franchise with a simple tweet.

Carpenter has composed the music for many of his own films: “Dark Star,” “Escape From New York,” “They Live,” “The Fog,” “Christine,” and so on and so forth. This new “Halloween,” which is being directed by David Gordon Green, will be his first film score since 2001’s “Ghosts of Mars.” It’s also the first “Halloween” movie in nearly a decade, following Rob Zombie’s 2007 remake and its 2009 sequel.

Green, whose all-over-the-place career has seen him direct everything from “George Washington” and “Joe” to “Pineapple Express” and “Stronger,” also co-wrote the screenplay with Danny McBride and Jeff Fradley. Jamie Lee Curtis will return as Laurie Strode in the film, which is being released on October 19.

Confirm!

— Jason Blum (@jason_blum) April 19, 2018

Source: IndieWire film

April 21, 2018

Watch: Learn How to Duplicate Objects with This Simple Cloning Trick in Premiere Pro

You can create this impressive cloning effect right inside of Adobe Premiere Pro.<p>Visual effects are a great way to add some flair and a little …
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April 15, 2018

‘A Quiet Place’: John Krasinski Reveals the Tricks Behind the Lantern Scene, Which Really Did Start a Fire — Watch

What little noise there is in “A Quiet Place” is all the more effective for its scarcity. One of the film’s tensest scenes comes early on, when the family of four led by John Krasinski and Emily Blunt’s characters are playing Monopoly and a lantern gets knocked over. Now Krasinski, who also directed the near-silent thriller, has broken down said scene for the delight of everyone watching at home. Watch below.

“Because it’s a movie about a family that needs to remain quiet, this is such a perfect atmosphere and one of the best scenes to tell the rules of how to remain quiet, what happens if you don’t,” Krasinski says in the video.

“We knew that sound would not only be a main character, but the character. It’s actually the thing that frames the entire movie together, but more than that, it became about adhering to rules — what sounds, literally, that the audience hears are too dangerous, which ones aren’t. It’s impossible to live silently, and we knew that, so we wanted to bring the audience through this idea of living as quietly as possible.”

“This is that old theory of loading a gun at the beginning of a scene to build tension,” he says, a reference to Chekhov’s gun. “This lantern will obviously become a huge part of the scene in that it is the first major noise you hear.”

Source: IndieWire film

April 15, 2018

Dwayne Johnson’s ‘Rampage’ Beats Out Horror Competition at Weekend Box Office

The box office continues to decline. And Dwayne Johnson is a major star. He took thriller “Rampage” (Warner Bros.) to a narrow win over John Krasinski’s sleeper hit “A Quiet Place” (Paramount) as both films grossed over $30 million. That’s the second time two films have reached that level for a weekend in 2018 — compared to four by this time last year.

The numbers dropped about 15 per cent against a 2017 weekend when “The Fate of the Furious” opened to $98 million, accounting for nearly 60 percent of the tickets sold. Still, several titles are making strong showings, and exhibitors are looking forward to some blockbusters ahead to overcome the two percent box office dip to date, including Disney/Marvel’s “Avengers: Infinity Wars” which is anticipated to open at $150 million or more.

Dwayne Johnson toplines $120-million “Rampage,” a video game adaptation about a primatologist joined by a mutant gorilla to confront a civilization-threatening invasion. Targeted abroad, the movie has already scored triple the domestic take internationally (less Germany and Japan so far).

With global marketing costs the film has some way to go before heading into profit. From a domestic standpoint, the gross is middling. It comes after Johnson’s “Jumanji: Welcome to the Jungle” to over $400 million domestic. And the similar “San Andreas” three years ago opened to (adjusted) $58 million.

Still, initial positive response (including a decent 20 per cent Saturday increase) could push this over $100 million, bucking a string of disappointments. A decent domestic haul might make the difference between profit and loss for the film, even if it ends up closer to a fifth of the world wide take.

“A Quiet Place”

Jonny Cournoyer

Holdovers

One film that has no worries about making lots of money is “A Quiet Place.” Its fall of 35 per cent would be good for most second weekends. For a horror film, any hold better than 50 per cent is excellent.

The ten-day haul of just under $100 million suggests its domestic total will hit $160 million or more. It could end up with a majority domestic take, but international, with $51 million in so far, has yet to see openings in China and France. But this sleeper hit would be a big success even if it never opened foreign.

“Truth or Dare”

2018 Universal Studios.

“A Quiet Place” held remarkably well considering it faced competition from — and likely stole opening gross from– “Truth or Dare,”  a similar genre title from horror film masters Blumhouse Productions. Their latest micro-budget title opened to $19 million, which falls below their four most recent entries (including “Get Out” and “Split”), but isn’t bad for a less-heralded non-sequel.

Two openers broke nationally, but neither made the Top Ten. Jon Hamm as an kidnap negotiator in the Mideast in “Beirut” (Bleecker Street) managed only a little over $2 million in five days (Wednesday opening) in 755 theaters. And an Irish animated film, “Sgt. Stubbs: An American Hero” (Fun Academy) managed an impressive A Cinemascore. The gross hasn’t been officially reported, but looks to amount to around $1.1 million in 1,633 theaters — that’s a miserable less than $700 per theater.

“Ready Player One”

“Ready Player One” (Warner Bros.) took a sizable 54 percent third weekend drop. Steven Spielberg’s latest is looking at over $140 million domestic, with the total worldwide number somewhere around $550 million. Not a monster hit at its expense (a reputed $145 million) but primed for a little profit along with a reinforcement of the director’s mainstream credentials.

“Blockers” (Universal) fell 50 per cent on its second weekend. The SXSW-debuted teen raunch comedy had a shot at sleeper success, but with mixed response its domestic total should end up a little over $50 million.

“Black Panther” (Disney), despite losing another fifth or so of its theaters, kept its drop to under 40 per cent. It’s on track to hit about $700 million domestic. “Isle of Dogs” (Fox Searchlight) placed #7 as it tripled its theaters to 1,939 with a modest ten per cent increase of its gross.

“Rampage”

The Top Ten

1. Rampage (Warner Bros.) NEW – Cinemascore: A-; Metacritic: 45; Est. budget: $120 million

$34,500,000 in 4,101 theaters; PTA (per theater average): $8,413; Cumulative: $34,500,000

2. A Quiet Place (Paramount) Week 2; Last weekend #1

$32,600,000 (-35%) in 3,589 theaters (+81); PTA: $; Cumulative: $99,636,000

3. Truth or Dare (Universal) NEW – Cinemascore: B-; Metacritic: 37; Est. budget: $3.5 million

$19,080,000 in 3,029 theaters; PTA: $6,399; Cumulative: $19,080,000

4. Ready Player One (Warner Bros.) Week 3 ; Last weekend #2

$11,205,000 (-54%) in 3,661 theaters (-573); PTA: $3,061; Cumulative: $114,608,000

5. Blockers (Universal) Week 2 ; Last weekend #3

$10,295,000 (-50%) in 3,418 theaters (+39); PTA: $3,012; Cumulative: $36,928,000

6. Black Panther (Disney) Week 9 ; Last weekend #4

$5,342,000 (-39%) in 2,180 theaters (-567); PTA: $2,450; Cumulative: $673,798,000

7. Isle of Dogs (Fox Searchlight) Week 4 ; Last weekend #10

$5,000,000 (+10%) in 1,939 theaters (+1,385); PTA: $2,579; Cumulative: $18,451,000

8. I Can Only Imagine (Roadside Attractions) Week 5; Last weekend #7

$3,837,000 (-51%) in 2,563 theaters (-331); PTA: $1,503; Cumulative: $74,988,000

9. Acrimony (Lionsgate) Week 3 ; Last weekend #6

$3,700,000 (-56%) in 1,332 theaters (-674); PTA: $2,778; Cumulative: $37,875,000

10. Chappaquiddick (Entertainment Studios) Week 2; Last weekend #5

$3.025,000 (-47%) in  1,645 theaters (+85); PTA: $1,839; Cumulative: $11,006,000

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Source: IndieWire film

April 15, 2018

Vittorio Taviani, Palme d’Or and Golden Bear Winner, Dies at 88

Vittorio Taviani, who along with his brother Paolo formed one of the world’s premier filmmaking duos, has died at age 88. His daughter confirmed the Palme d’Or, Golden Bear, and Golden Lion winner’s passing after a long illness. Beloved in their native Italy for decades and celebrated at film festivals the world over, the Taviani Brothers directed such arthouse classics as “Pedro Padrone” (which won them the Palme in 1977) and “Caesar Must Die” (which took home the top prize from Berlin six years ago).

The two directed more than 20 films over the last 50 years, with “The Night of the Shooting Stars” winning particular acclaim at home; it was also awarded the Grand Prix at Cannes. In a statement, Italian president Sergio Mattarella called Taviani “a beloved protagonist of Italian cinema and culture” and said that the entire country is in mourning.

Born in the town fo San Miniato in 1929, Taviani most recently directed “Wondrous Boccaccio” with his brother, their follow-up to “Caesar Must Die.” The duo received a Golden Lion for Lifetime Achievement from the Venice Film Festival in 1986.

Source: IndieWire film

April 15, 2018

Claire Denis Reveals Why ‘High Life,’ Her Sci-Fi Thriller Starring Robert Pattinson, Isn’t at Cannes

In addition to being one of our most gifted filmmakers, Claire Denis is also among the most outspoken. The French auteur’s name was conspicuously absent from the Cannes Film Festival lineup earlier this week, as many expected “High Life,” her sci-fi film starring Robert Pattinson, to premiere on the Croisette.

She’s asked about that in an interview with the Irish Times, but not before taking issue with being referred to as a “female director” by her interviewer. “When you say ‘female director’ I already want to stop this conversation!” Denis says. “Female director? I feel like I am an animal. I am a female director like this is a female bird. No, I am a director — good or bad I don’t know. But I am a woman.”

As for “High Life,” it appears as though it simply wasn’t ready in time for the festival.

“I made my way,” Denis says of her plight. “I made my films and I am a woman. Nobody raped me for making a film. The problem with this story is that people are victims when somebody has the power over them. But I was not really in that position. I had always a freedom. I was not obliged to go to a hotel room with somebody to get a film produced. I should have, maybe. To get a bigger film. Harvey Weinstein never asked me. I made my life differently. I don’t want to comment on this story of female film-making. Oh, all those f’s.”

As for Cannes, Denis seems unbothered by the fact that none of her movies have premiered in Competition since “Chocolat” 30 years ago. “I take what I am given,” she says. “I am always considering maybe my films are not good enough. Maybe they are boring. Maybe there is something Cannes doesn’t like. I never asked them, by the way. I don’t care.” Read her full interview here.

Source: IndieWire film

April 8, 2018

‘A Quiet Place’ Makes Noise as the Biggest Box Office Opening Since ‘Black Panther’

What does “A Quiet Place’ have that “Pacific Rim: Uprising” and “Tomb Raider” don’t? Quite a few things, it turns out, including the best domestic box office opening since “Black Panther.”

The critically acclaimed third feature from actor John Krasinski, who stars opposite wife Emily Blunt, nearly tripled its budget on opening weekend. That will propel it into a major profit for struggling Paramount and provides an easy route to over $100 million in domestic. Overseas, initial reports have its take at $21 million.

“A Quiet Place”

Jonny Cournoyer

Any way you look at it, this is a hit, but here’s the elements that stand out.

— Its $17 million budget is minuscule by studio standards — especially compared to “Pacific Rim” ($150 million) and “Tomb Raider” ($94 million), both of which will struggle to reach a domestic gross over $60 million. Foreign grosses should get “Tomb Raider” in the black, but the more expensive “Pacific Rim” remains in question.

— It is a non-franchise, original story, similar to recent lower-budget successes like “I Can Only Imagine” and “Game Night.” That makes five of the top 10 releases of 2018 releases unconnected to sequels or franchises; last year at this time, we had three.

— The success of “A Quiet Place” comes with not only strong reviews (not unheard of in the horror genre, but atypical) but also with carefully crafted marketing that accentuated fresh story elements.

— Like “Ready Player One” and “Blockers,” “A Quiet Place” used SXSW as a more populist Sundance to build interest for a mainstream studio release.

— It includes a strong central female figure among its leads, contrary to traditional genre, appealed to a slight majority of female ticket buyers.

“Blockers”

“A Quiet Place” parallels the better-than-expected opening for “Blockers,” an R-rated comedy in the spirit of “Bridesmaids.” The $21 million film had the best comedy opening weekend of the year.

With budgets at this level, the need to shape a film for universal appeal becomes less important. For two films like this to open so well in one weekend is great news.

At $50 million, “A Quiet Place” is the second-biggest opener for 2018. Last year, it would have ranked no higher than sixth. So while it deserves the fuss, it isn’t exactly an unprecedented gross for early spring.

“Black Panther”

All told, this weekend provided the strongest grosses since late February. Coming in at around $164 million, it represents an increase of over a third above the same weekend last year. The fact that it comes via smaller films is all the more impressive.

“Ready Player One” kept its drop to 40 percent, with a 53 percent drop from its four-day initial total. With very strong international included, it is nearing $400 million; more than a half billion looks certain. An expensive film, but one that is scoring above the recent franchise standard.

“Black Panther,” of course, remains the franchise film par excellence. Even with the surge of interest in newer films, it dropped only 27 percent. It should remain track to reach a staggering $700 million domestic total.

“Chappaquiddick”

Two other new films opened wide to lesser results. The Ted Kennedy/Mary Jo Kopechne retelling “Chappaquiddick” actually did more than anticipated, with $6.2 million on 1,560 screens. The acquisition from last year’s Toronto International Film Festival, with a reported $20 million price tag (that includes marketing commitments), will face a challenge sustaining a run, but its 31 percent Saturday increase and per-theater average give it a shot.

“The Miracle Season,” produced by LD Entertainment, fell short of the top 10 with just over $4 million in 1,707 theaters. However, the inspirational girls volleyball team story got a strong A Cinemascore and a 19 percent Saturday increase; despite a weak start, it might have further appeal.

The Top 10

1. A Quiet Place (Paramount) NEW – Cinemascore: B+; Metacritic: 82; Est. budget: $17 million

$50,000,000 in 3,508 theaters; PTA (per theater average): $14,252; Cumulative: $50,000,000

2. Ready Player One (Warner Bros.) Week 2; Last weekend #1

$25,060,000 (-40%) in 4,234 theaters (no change); PTA: $5,919; Cumulative: $96,921,000

3. Blockers (Universal) NEW – Cinemascore: B; Metacritic: 69; Est. budget: $21 million

$21,439,000 in 3,779 theaters; PTA: $6,345; Cumulative: $21,439,000

4. Black Panther (Disney) Week 8; Last weekend #3

$8,430,000 (-27%) in 2,747 theaters (-241); PTA: $3,069; Cumulative: $665,356,000

5. I Can Only Imagine (Roadside Attractions) Week 4; Last weekend #4

$8,537,000 (-20%) in 2,894 theaters (+246); PTA: $2,888; Cumulative: $69,084,000

6. Acrimony (Lionsgate) Week; Last weekend #2

$8,065,000 (-53%) in 2,066 theaters (no change); PTA: $4,020; Cumulative: $31,350,000

7. Chappaquiddick (Entertainment Studios) NEW – Cinemascore: B; Metacritic: 67; Est. budget: (not reported)

$6,200,000 in 1,560 theaters; PTA: $3,974; Cumulative: $6,200,000

8. Sherlock Gnomes (Paramount) Week 3; Last weekend #6

$5,600,000 (-20%) in 2,733 theaters (-929); PTA: $2,049; Cumulative: $33,898,000

9. Pacific Rim: Uprising (Universal) Week 3; Last weekend #5

$4,910,000 (-48%) in 2,627 theaters (-1,081); PTA: $1,869; Cumulative: $54,919,000

10 Isle of Dogs (Fox Searchlight) Week 3; Last weekend #11

$4,600,000 (+56%) in 554 theaters (+389); PTA: $8,303; Cumulative: $12,049,000

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Source: IndieWire film

April 8, 2018

Elon Musk Wants You to Watch ‘Do You Trust This Computer?’ in Memory of Stephen Hawking, and It’s Free

Because “nothing will affect the future of humanity more than digital super-intelligence,” Elon Musk thinks you should watch Chris Paine’s artificial-intelligence movie “Do You Trust This Computer?” And, wouldn’t you know it, the film is streaming for free until later tonight.

Here’s the synopsis: “Science fiction has long anticipated the rise of machine intelligence. Today, a new generation of self-learning computers has begun to reshape every aspect of our lives. Incomprehensible amounts of data are being created, interpreted, and fed back to us in a tsunami of apps, personal assistants, smart devices, and targeted advertisements. Virtually every industry on earth is experiencing this transformation, from job automation, to medical diagnostics, even military operations. ‘Do You Trust This Computer?’ explores the promises and perils of our new era. Will A.I. usher in an age of unprecedented potential, or prove to be our final invention?”

Musk notes that his endorsement of the film is “in memory of Stephen Hawking,” who passed away last month at 76. Watch “Do You Trust This Computer?” here.

Nothing will affect the future of humanity more than digital super-intelligence. Watch Chris Paine’s new AI movie for free until Sunday night at https://t.co/WehHcZX7Qe

— Elon Musk (@elonmusk) April 6, 2018

Source: IndieWire film