November 5, 2017

‘Lady Bird’ Takes Flight as Best Specialty Opener of 2017

“Lady Bird” (A24), Greta Gerwig’s first solo directing effort, rode a wave of strong reviews and publicity to score the best limited opener of the year. After a disappointing prime specialty season when it has become easy to forget what a strong limited platform opening can be, her valentine to her home town of Sacramento starring Saorise Ronan debuted even higher than expectations.

This success stood in sharp contrast to the weak opening for Richard Linklater’s “Last Flag Flying” (Lionsgate). Despite a strong push for the Amazon presentation, which opened the New York Film Festival, the military veteran drama starring Bryan Cranston, Steve Carell and Laurence Fishburne couldn’t pull in specialty audiences.

Opening

Lady Bird (A24) – Metacritic: 93; Festivals include: Telluride, Toronto, New York 2017

$375,612 in 4 theaters; PTA (per theater average): $93,903

The first breakout hit of the awards season is also the biggest specialized release of the year (topping “The Big Sick”) and the best since “La La Land” last December ($176,000). It edges out (in adjusted numbers) Kathryn Bigelow’s “Zero Dark Thirty” as the best ever limited debut for a movie directed by a woman. These top-rank numbers mark yet another triumph for A24, which looks to repeat last year’s Oscar-winning “Moonlight” performance, as well as producer Scott Rudin, an Oscar perennial.

By contrast to familiar biopics and other highly touted releases this fall, well-reviewed “Lady Bird” stood out with its mother-daughter story, youthful point-of-view and a sense of originality. And it wasn’t just an opening day event: Saturday went up a strong 36 per cent.

This is the best specialized news since “The Big Sick.” In a disappointing year, Gerwig proves that it’s is still possible to excite and expand the arthouse audience.

What comes next: This expands to other top cities this Friday, with a wide national release set by Thanksgiving.

Last Flag Flying (Lionsgate) – Metacritic: 64; Festivals include: New York, London 2017

$42,000 in 4 theaters; PTA: $10,500

Richard Linklater’s latest film, backed by Amazon, received a high profile launch, strong publicity, marketing and ad support, some personal appearances included among its four prime New York/Los Angeles theaters. But this loose adaptation of the sequel to “The Last Detail” failed to attract an audience equal to its potential, with a weak total. This is the lowest limited opening ever for a Linklater film other than “Tape” (2001), with a big falloff from “Boyhood” but also the disappointing “Everybody Wants Some!!” last year.

What comes next: 20+ new dates open this week, with a wider release by Thanksgiving planned.

Castle Rock Entertainment

LBJ (Electric)  – Metacritic: 54; Festivals include: Toronto 2016

$1,138,000 in 659 theaters; PTA: $1,727

Rob Reiner’s biopic of the 36th president starring Woody Harrelson in the title role finally opened over a year after its Toronto premiere (oddly the same weekend as “Lady Bird,” which has nothing to do with his wife). An aggressive campaign across the country received only minor results. The glut of films about real life figures continues to see flat results.

What comes next: This did enough to sustain these runs for a second week, but beyond that not much more.

My Friend Dahmer (First Run) – Metacritic: 70; Festivals include: Tribeca 2017

$45,000 in 4 theaters; PTA: $11,250

This unheralded biopic about the cannibal mass killer managed to get a PTA higher than “The Last Flag” in its New York/Los Angeles openings. Its roots as a graphic novel have it a boost. The film had a healthy 26 per cent jump Saturday, suggesting decent initial reaction and not just a one day wonder.

What comes next: Seven more theaters open this Friday, with this result likely to open further doors.

Wait for Your Laugh (Vitagraph) – Metacritic: 65; Festivals include: Mill Valley 2017

$17,600 in 2 theaters; PTA: $8,800

Veteran 94-year-old comic actress Rose Marie (best known as Sally in “The Dick Van Dyke Show” is portrayed here in this documentary. It opened in two New York theaters to decent numbers, though a majority of it came on opening night.

What comes next: San Francisco opens this week, Los Angeles on Nov. 17 among other new dates planned ahead.

Gilbert (Submarine Deluxe) – Metacritic: 68

$8,362 in 1 theater; PTA: $8,362

The second of two comic performer documentaries this week opened with a majority of its estimated weekend on its first night, not unusual when an opening (in this case an exclusive New York run) attracts core friends and fans of its subject. In this case it’s veteran comedian Gilbert Gottfried.

What comes next: Seven additional theaters come on next this Friday.

1945 (Menemsha) – Metacritic: 72; Festivals include: Berlin, Chicago 2017

$23,412 in 2 theaters; PTA: $11,706; Cumulative: $29,365

Holocaust survivors returning to their small Hungarian town and their unfriendly welcome are the subject of this film, which opened in two Manhattan theaters last Wednesday. The Lincoln Square had one of its best weekends of the season (over $18,000), and Saturday numbers doubled Friday. Menemsha looks to have another strong niche film after its earlier $1 million+ gross for the Israeli “The Woman’s Balcony.”

What comes next: The expansion ahead includes Los Angeles theaters on Nov. 24.

Also available on Video on Demand:

Blade of the Immortal (Magnolia/Cannes 2017) – $42,000 in 32 theaters

Frank Serpico (IFC/Tribeca 2017) – $2,238 in 1 theater; Cumulative: $4,860

Week Two

The Square (Magnolia)

$102,000 in 19 theaters (+15); PTA: $5,368; Cumulative: $207,456

In the tricky world of subtitled films, the second weekend expansion of this Swedish Palme d’Or winner is better than average. The numbers are ahead of the similarly comedic “Toni Erdmann” when it played in 20 theaters after having scored an Oscar nomination.

Novitiate (Sony Pictures Classics)

$54,898 in 16 theaters (+13); PTA: $3,431; Cumulative: $89,493

This drama of a young aspiring American nun during the turbulent 1960s showed similar modest results in its second week big city expansion to its two-city openings.

gay god's own country francis lee british

God’s Own Country (Orion)

$(est.) 22,500 in 5 theaters (+3); PTA: $(est.) 4,500; Cumulative: $(est.) 50,500

This well reviewed British drama about the unexpected attraction between a farmer and an immigrant worker continues to show modest interest in its second weekend.

“Mansfield 66/67”

Mansfield 66/67 (Film Buff)

$4,001 in 12 theaters (+10); PTA: $333; Cumulative: $12,427

Some initial signs of life in this retelling of the last days of screen bombshell Jayne Mansfield diminished in its second weekend expansion.

Let There Be Light (Atlas)

$(est.) 1,700,000 in 700 theaters (+327); PTA: $(est.) 2,429; Cumulative: $(est.) 4,092,000

The second week of this right-wing religious drama directed by and starring Kevin Sorbo made the Top Ten as it nearly doubled its theaters. The gross remained about the same, with the per theater average dropping by just under half.

Ongoing/expanding (grosses over $50,000)

Victoria & Abdul (Focus) Week 7

$1,210,000 in 796 theaters (-248); Cumulative: $19,864,000

Focus’ Judi Dench starrer continues to add to its strong totals, showing the best results of any fall season awards contender so far.

A24

The Florida Project (A24) Week 5

$663,626 in 189 theaters (+44); Cumulative: $3,027,000

Sean Baker’s box-office breakout has now quadrupled the totals of his last film, “Tangerine.” “The Florida Project” expansion continues to gross about half the pace of A24’s “Moonlight” a year ago (which ended up with wider exposure than this is likely to get). But on its own terms “The Florida Project” continues as one of the top specialized releases so far this season.

Marshall (Open Road) Week 4

$503,570 in 504 theaters (-317); Cumulative: $7,824,000

Despite its low numbers (compared to its multi-hundred theater release and strong support), Open Road managed to keep this playing a fourth week to add to its total. Some good word of mouth is evident, though

Loving Vincent (Good Deed) Week 7

$590,195 in 205 theaters (+44); Cumulative: $3,033,000

The animated biopic sleeper continues to thrive with no end in sight with further limited expansion. This should easily pass $5 million, even more impressive as the breakout release from a new distributor.

The Killing of a Sacred Deer (A24) Week 3

$401,426 in 86 theaters (+53); Cumulative: $908,351

Yorgos Lanthimos’ second English language film (and European Film Award nominee) expanded again aggressively. Its respectable returns rank about half of the pace the director’s “The Lobster” saw last year.

Goodbye Christopher Robin (Fox Searchlight) Week 4

$353,000 in 262 theaters (+49); Cumulative: $1,159,000

How A.A. Milne created Winnie the Pooh isn’t attracting interest as the film continues to expand.

Wonderstruck (Roadside Attractions) Week 3

$235,755 in 121 theaters (+79); Cumulative: $517,828

The disappointing performance for Todd Haynes’ latest release continues as the third week performance finds the film pulling interest far below what was anticipated.

Battle of the Sexes (Fox Searchlight) Week 7

$185,000 in 158 theaters (-133); Cumulative: $12,317,000

Fox Searchlight’s second-biggest release of the year (behind more mainstream “Gifted” at $24 million) adds to its total as one of the bigger fall films.

Jane (Abramorama/National Geographic) Week 3

$229,646 in 55 theaters (+30); Cumulative: $517,658

Primatologist Jane Goodall is a star in her field, and now a draw with movie audiences as this documentary (featuring vintage footage takes during field work) continues to show strength beyond most similar releases at the moment.  Its continued strength as it expands suggests a potential substantially above its already strong take.

Wind River (Weinstein) Week 14

$51,086 in 105 theaters (+25); Cumulative: $33,695,000

What might be the final Weinstein release continues to add to its impressive total in its fourth month.

Also noted:

Faces Places (Cohen) – $47,886 in 28 theaters; Cumulative: $365,796

The Human Flow (Magnolia) – $34,500 in 33 theaters; Cumulative: $346,687

Stronger (Roadside Attractions) – $12,700 in 35 theaters; Cumulative: $4,170,000

Mark Felt: The Man Who Brought Down the White House (Sony Pictures Classics) – $28,251 in 44 theaters; Cumulative: $735,569

Tom of Finland (Kino Lorber) – $ in theaters; Cumulative: $

Aida’s Secrets (Music Box) – $11,339 in 6 theaters; Cumulative: $57,550

Tragedy Girls (Gunpowder & Sky) – $10,062 in 22 theaters; Cumulative: $46,625

BPM (Beats Per Minute) (The Orchard) – $8,284 in 5 theaters; Cumulative: $37,194

Source: IndieWire film

November 5, 2017

Harry Dreyfuss Accuses Kevin Spacey of Groping Him When He Was 18: ‘My Mind Went Blank’

Harry Dreyfuss, Richard Dreyfuss’ son and an actor in his own right, has accused Kevin Spacey of groping him when he was 18 years old. His account was written for Buzzfeed, which also published Anthony Rapp’s similar allegations last weekend. In it, he alleges that the incident took place in 2008, when Spacey was directing his father in a play at London’s Old Vic.

“It happened one night when the three of us were alone in Kevin’s apartment rehearsing my father’s lines,” Dreyfuss writes. “My father didn’t see, and I didn’t tell him about the incident for many years. Instead, I spent the next nine years telling people the story at parties for laughs.” The reason for humor, he says, is that “telling the story as a joke ensured that this was a story I could own. If I could laugh at it, then surely I was not a victim.”

He doesn’t find it funny anymore, however, and says that the numerous stories coming out about the Oscar winner suggest that “Kevin Spacey is a sexual predator.” Dreyfuss writes that, as he and his father were reading lines in Spacey’s apartment, Spacey sat next to him on the couch and placed his hand on his thigh. Dreyfuss’ father was too engrossed in what he was doing to notice Spacey’s behavior.

“Over the course of about 20 seconds, centimeter by centimeter, Kevin crawled his hand from my thigh over toward my crotch. My mind went blank. Suddenly, he had completed his journey and now he had all of me in his hand.” He doesn’t remember exactly how the night ended, but he “couldn’t stop thinking about it” afterward and it’s taken him years to fully process the experience. Read his full account here.

Source: IndieWire film

November 3, 2017

Still photographs spring to life

New software makes it possible to breathe life into still photo portraits.<p>The project was developed in Israel with the help of a leading social network.<p>It has the potential to become the net’s next viral hit, but also has more serious long-term uses, as one of its creators explains.
Source: CW’s Flipboard Feed

November 1, 2017

2017 SXSW Film Festival Selections: Animated Shorts [Video]

This week we’re highlighting the 2017 Animated Shorts Competition. Featuring an eclectic array of styles, each film is sure to inspire.

You can view our SXSW 2017 Best Animated Short Award Winner, WEDNESDAY WITH GODDARD directed by Nicolas Ménard, and many more on Vimeo.

Check out more great short films from past editions of SXSW on our SXSW Film Festival Vimeo Channel.

2017 SXSW Animated Short Film Selections

TOUGH directed by: Jennifer Zheng
Somethings can only be understood with maturity. New light is shed on childhood cultural misunderstandings when a Chinese mother and her British- born daughter speak as adults for the first time.

GLUCOSE directed by: Jeron Braxton
Glucose is sweet, marketable, and easy to consume, but its surface satisfaction is a thin coating on the pain of many disenfranchised people.

WEDNESDAY WITH GODDARD directed by: Nicolas Menard
A personal quest for spiritual enlightenment leads to romance and despair.

HOT DOG HANDS directed by: Matt Reynolds
This woman can’t stop growing fingers.

IT SHOULD BE EASY directed by: Ben Meinhardt
What happens when your mom calls for help with the computer?

Other Animated Shorts that were part of the SXSW 2017 program, but are not yet available to watch on Vimeo include:

CATHERINE directed by Britt Raes
SUMMER CAMP ISLAND directed by Julia Pott
BLOOP’S BIRTHDAY directed by Julian Glander
BIRDLIME directed by Evan DeRushie
PUSSY directed by Renata Gasiorowska
LOU directed by Dave Mullins

Join Us For SXSW 2018

Grab your Film Badge today for primary access to all SXSW Film events including world premieres, roundtables, workshops, and parties. Register to attend by Friday, November 17 and save. Make your hotel reservations through SXSW Housing & Travel for the best available rates. We hope to see you in March!

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, application tips, and updates.

The post 2017 SXSW Film Festival Selections: Animated Shorts [Video] appeared first on SXSW.

Source: SxSW Film

October 30, 2017

How to Replicate the Super 16mm Look with Your DSLR

How do you fake the look of 16mm with your DSLR when shooting on film gets too expensive?I cut my photographic teeth on a Canon 5D Mark II and …
Source: CW’s Flipboard Feed