August 27, 2017

‘Rushmore’ Accompanied by Smash Mouth, Blink 182, and Other ’90s Bands Is as Hilariously Awful as You’d Imagine — Watch

Like all Wes Anderson movies, “Rushmore” is made special in part by its carefully curated soundtrack. Mark Mothersbaugh, the Kinks, Donovan, the Creation and other artists provide the musical accompaniment to Max Fischer’s coming of age and remind us of Anderson’s artful meticulousness. Courtesy of Kentucker Audley, we now have a new version of the “Rushmore” soundtrack to ponder — and it’s hilarious in its awfulness.

If you ever wanted to know how Smash Mouth’s “All Star” would pair with Anderson’s second film, now’s your chance. And if you were curious how the opening credits would feel accompanied by Spin Doctors, by all means indulge yourself. Just try not to get too angry when your favorite musical cues from the film are replaced by tracks that, though apropos of the movie’s 1998 release date, are utterly incongruous with everything else about it.

Audley has done this sort of thing before, having recently envisioned a version of “Garden State” in which Dave Matthews Band accounts for the entire soundtrack; unlike this one, that almost seemed like a perverse improvement. Watch this new take on “Rushmore” below.

Source: IndieWire film

August 27, 2017

As Box Office Goes to Hell, Specialty Market Hangs on with ‘Beach Rats’

On a disastrous weekend at the overall box office –with the lowest per capita attendance since the FDR administration — specialty movies did comparatively better. On a smaller scale.

Still, continuing a recent trend, a slew of Sundance premieres expanded to weak results. “Ingrid Goes West” (Neon) and “Good Time” (A24), both with significant support and strong theater placement, are barely treading water in most locations as they broaden.

“Beach Rats” (Neon), another Sundance American indie, leads among new openers with an adequate start in its initial two city dates. But it is below other films that are now struggling to find interest with broader audiences.

Like the mainstream market, the specialized scene has gone from a strong early summer with several notable titles (led by “The Big Sick”) to a wide number of disappointments that have come and gone very quickly. With the fall festival and awards season just around the corner, things could change. But things look bleak at the moment.

Opening

Beach Rats (Neon) – Metacritic: 79; Festivals include: Sundance, New Directors/New Films, San Francisco, Seattle 2017

$45,008 in 3 theaters; PTA (per theater average): $15,003

Strong theater placement in New York and Los Angeles, upbeat reviews and significant ad support led to a positive but still sub-$20,000 per theater average seen by multiple recent limited releases (many of which have failed to show strength much beyond initial dates) for another Sundance premiere with a younger feel. Set among working-class Brooklyn characters, the movie faces the challenge of reaching audiences close to the age of those in the film who increasingly are shunning most specialized films.

What comes next: This expands to major cities for the holiday weekend.

Polina (Oscilloscope) – Metacritic: 70; Festivals include: Venice 2016

$13,250 in 2 theaters; PTA: $6,625

This French film about a budding ballet choreographer opened at two prime Manhattan theaters with positive reviews and a gross good enough to suggest a modest national release ahead.

What comes next: Los Angeles opens this Friday.

Sundance

Week Two

Patti Cake$ (Fox Searchlight)

$105,000 in 59 theaters (+45); PTA: $1,780; Cumulative: $197,394

The second weekend expansion of this, yet another strong Sundance shown title, continues the minor response seen in its opening select theaters last week.

Crown Heights (IFC)

$32,800 in 10 theaters (+7); PTA: $3,200; Cumulative: $69,812

The second weekend expansion of this true story of the quest to prove the innocence of a convicted felon showed some positive results, with a particularly strong increase on Saturday suggesting some strong word of mouth that could lead to further interest ahead.

Courtesy of Sundance Institute, photo by Ante Cheng

Gook (Goldwyn)

$75,734 in 24 theaters (+22); PTA: $3,156; Cumulative: $109,678

Set among Los Angeles’ Korean community during the 1992 riots, this expansion (including its initial New York dates) shows clear interest in targeted areas.

Marjorie Prime (FilmRise)

$23,000 in 10 theaters (+4); PTA: $2,300; Cumulative: $53,890

Veteran actress Lois Smith’s acclaimed performance is a main draw in this story of a widow reunited with her late husband via A.I. technology as it expands to modest reaction so far.

California Typewriter (Gravitas Ventures)

$16,336 in 2 theaters (+1); PTA: $8,168; Cumulative: $21,442

This documentary about old-school writers and their attachment to typewriters is getting above average (these days) grosses in its limited initial dates, with a particularly good gross at New York’s Lincoln Plaza. It opens in Los Angeles this Friday.

Courtesy of Sundance

Ongoing/expanding (Grosses over $50,000 in under 1,000 theaters)

Ingrid Goes West (Neon) Week 3

$781,750 in 647 theaters (+621); Cumulative: $1,322,000

Another Sundance sensation finds much more limited public interest in a wider release. Neon deserves credit as a new distributor in reaching this wide a release, but the results don’t suggest the effort for this social media sensation story was worth making.

Good Time (A24) Week 3

$610,890 in 721 theaters (+701); Cumulative: $1,029,000

Weak expansion for another acclaimed film Sundance film, with the Safdie Brothers’ prison break attempt tale with Robert Pattinson failing to gain much attention (under $1,000 per theater) in a disappointing expansion.

The Big Sick (Lionsgate) Week 10

$745,000 in 706 theaters (+88); Cumulative: $39,266,000

The year’s biggest independent film (and Amazon’s second biggest overall) is still ahead of most of titles late in its run.

Detroit (Annapurna) Week 5

$231,000 in 525 theaters (-903); Cumulative: $16,153,000

Down to token shows at most theaters, Kathryn Bigelow’s mostly acclaimed (though with some dissent) 1967 riot-set drama will end up with little more than it has already amassed despite an aggressive wide release after its initial platform dates.

The Only Living Boy in New York (Roadside Attractions) Week 3

$175,627 in 289 theaters (+223); Cumulative: $385,856

Marc Webb’s most recent film though somewhat similar in style and tone to his debut “(500) Days of Summer” is only going to do a small fraction of that film’s numbers as it quickly fades to oblivion.

The Trip to Spain (IFC) Week 3; also available on Video on Demand

$132,048 in 56 theaters (+37); Cumulative: $248,048

A decent response with its parallel VOD component for this third road trip hosted by Steve Coogan.

Menashe (A24) Week 5

$172,510 in 103 theaters (+17); Cumulative: $973,593

This American-made subtitled (in Yiddish) Orthodox community set custody battle story is steadily climbing to $1 million total, uncommon these days for non-English language titles.

Maudie (Sony Pictures Classics) Week 20

$91,051 in 96 theaters (-28); Cumulative: $5,781,000

One of the more slowly percolating mid-level specialized successes of the summer is still adding to its totals, which include nearly $3 million in the U.S. (the rest in Canada, its setting).

An Inconvenient Sequel: Truth to Power (Paramount) Week 5

$80,000 in 127 theaters (-187); Cumulative: $3,325,000

This documentary update on climate change strategies is nearing the end of its relatively brief run with only a fraction of what “An Inconvenient Truth” took in, although it stands near the top of non-fiction film releases this year.

Columbus (Superlative) Week 4

$68,680 in 22 theaters (+10); Cumulative: $242,727

Currently the best reviewed specialized film in release (Metacritic is at 90), this self-released independent film set in a mid-size Indiana city known for its elevated architecture continues to do respectable business as it opens in new cities.

Step (Fox Searchlight) Week 4

$66,000 in 118 theaters (-188); Cumulative: $972,590

Quickly fading despite Searchlight’s considerable backing, this Baltimore-set youth dance competition documentary never caught on.

Also noted:

Brigsby Bear (Sony Pictures Classics) – $30,118 in 94 theaters; Cumulative: $458,773

The Little Hours (Gunpowder & Sky) – $21,408 in theaters; Cumulative: $1,551,000

Lady Macbeth (Roadside Attractions) – $ in 41 theaters; Cumulative:

The Hero (The Orchard) – $15,498 in 37 theaters; Cumulative: $4,024,000

Landline (IFC) – $15,300 in 30 theaters; Cumulative: $896,113

Source: IndieWire film

August 27, 2017

Edgar Wright, James Wan, Sean Baker, and More Pay Tribute to Tobe Hooper, ‘The King of Transgressive Horror’

Given how influential Tobe Hooper’s career was, it comes as little surprise that so many tributes to the “Texas Chainsaw Massacre” director have come pouring in since news of his death spread late last night. The genre master also directed the likes of “Poltergeist,” “Lifeforce,” and a miniseries version of Stephen King’s “Salem’s Lot,” all of which helped shape the current state of horror cinema.

Here are some of the social-media responses to the 74-year-old’s passing:

Very sad to hear of the passing of Tobe Hooper, another master of horror. He conjured some truly shattering, unforgettable moments in film. pic.twitter.com/6Kxw0gURzF

— edgarwright (@edgarwright) August 27, 2017

Tobe Hooper, a kind, warm-hearted man
Who made the most terrifying film ever.
A good friend I will never forget

— William Friedkin (@WilliamFriedkin) August 27, 2017

RIP Tobe Hooper! The Saw is Family! https://t.co/1mATuP2KRI pic.twitter.com/70VEcssiS5

— KevinSmith (@ThatKevinSmith) August 27, 2017

Aww, man. Another legend has passed. So long, Tobe Hooper.

— Elijah Wood (@elijahwood) August 27, 2017

Goodbye Tobe Hooper, the king of transgressive horror. pic.twitter.com/JtkwqntxUs

— Scott Derrickson (@scottderrickson) August 27, 2017

Oh no. R.I.P. Tobe Hooper. Texas Chainsaw Massacre is one of the coolest & most terrifying movies ever made. It crawls inside & stays.

— Kumail Nanjiani (@kumailn) August 27, 2017

Sad to hear the passing of Tobe Hooper. One of the nicest people. A sweet, gentle soul of a man. Your legacy lives on. #RIP

— James Wan (@creepypuppet) August 27, 2017

pic.twitter.com/zPnwvisVUR

— sean baker (@Lilfilm) August 27, 2017

Sorry to hear Tobe Hooper passed. He did a terrific job directing the 'SALEM'S LOT miniseries, back in the day. He will be missed.

— Stephen King (@StephenKing) August 27, 2017

Source: IndieWire film

August 24, 2017

A Definitive Guide to Not Messing Up Your Solar Eclipse Time-Lapse – From Syrp

We’ve had a long relationship with the good folks at Syrp and they just sent me this article on shooting the total solar eclipse that is happening in …
Source: CW’s Flipboard Feed

August 22, 2017

2018 SXSW Film Submission Tips: Early Deadline August 25 [Video]

Only a few days left until the early film submission deadline on Friday, August 25. If your film isn’t quite ready, don’t worry. We still have two additional deadlines before submissions officially close for SXSW 2018. Check out our quick tips below.

Film Submissions Quick Tips

• Remember that you must have a secure link to your film ready to go before you complete your application.

• While submitting by the Early Deadline will keep some extra money in your pocket, we never want filmmakers to rush their films, as we will only consider the first cut submitted. So take your time!

• Find out more information about deadlines and fees here.

• Questions? Find answers in our Film FAQ.

• If you are ready to submit, take a few minutes to watch our How to Submit Your Film video posted above!

Communication is key. After you’ve submitted we know that you will continue to work out your plans for the future of your film. If any information about your film changes after you’ve completed your application, let us know. If you’ve been accepted to another festival, added a sales agent, or changed a major aspect of the film itself, email filmfest@sxsw.com to let us know.

Also, have patience. We know waiting to hear from us can be excruciating, but it takes a lot of time for us to hone down the program into its final iteration. We are evaluating films through January so just because you haven’t heard from us yet, but your friends have, doesn’t mean we’ve forgotten about you. Everyone who submits a film to us will hear from us by February 9. Only after that date, email us if you haven’t heard anything.

Join Us For SXSW 2018

Join us for SXSW 2018 – register to attend by Friday, September 8 for the biggest savings of the season. Make your hotel reservations through SXSW Housing & Travel for the best available rates. Grab your Film badge today for primary access to all SXSW Film events including world premieres, roundtables, workshops and parties. 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 2018 SXSW Film Submission Tips: Early Deadline August 25 [Video] appeared first on SXSW.

Source: SxSW Film

August 20, 2017

Steven Soderbergh’s new HBO show will have a choose-your-own-adventure feel

Though it’s still in preproduction, Steven Soderbergh’s upcoming series <i>Mosaic</i> is already unlike anything HBO has ever done.<p>In an extensive, new interview with Lincoln Center’s <i>Film Comment</i>, Soderbergh shared more about the project and how it will tie in to an app due out in November — an app that …
Source: CW’s Flipboard Feed

August 20, 2017

Jerry Lewis, King of Comedy, Dies at 91

Jerry Lewis has died at age 91. The legendary actor, comedian, singer, producer, screenwriter, and director had a decades-long career that included a comic partnership alongside Dean Martin and a gut-busting presence in such films as “The Nutty Professor” and “The Bellboy.” The Las Vegas Review-Journal’s John Katsilometes reports that he passed away at 9:15 Sunday morning at his home in Las Vegas.

Lewis suffered from many health issues in recent decades; he underwent open-heart surgery in 1983, surgery for prostate cancer nine years later, had a heart attack in 2006, and dealt with pulmonary fibrosis for many years. He and Martin ruled the nightclub scene throughout the 1950s, though their eventual split wasn’t exactly amicable.

Born March 16, 1926 in Newark, New Jersey, Lewis was married to Patti Palmer from 1944-1980 and then to SanDee Pitnick from 1983 until his death. He had seven children, one of whom, Joseph Lewis, died in 2009. Lewis was also familiar for hosting the Labor Day telethon and received many humanitarian and lifetime achievement awards.

 

Very sad to report entertainment legend #JerryLewis has died today at 9:15 a.m. at his home in Las Vegas. He was 91.

— John Katsilometes (@johnnykats) August 20, 2017

Source: IndieWire film

August 20, 2017

Billy Idol Almost Played the T-1000 in ‘Terminator 2,’ Robert Patrick Reveals

Well, everyone knows Robert Patrick played the T-1000 in “Terminator 2: Judgment Day.” What this new Hollywood Reporter interview presupposes…maybe he almost didn’t? The actor reveals that he wasn’t exactly the first choice to play the menacing, nigh-unstoppable cyborg in the 1991 sci-fi/action masterpiece, and in fact a rather different performer was: “Billy Idol was set to do the role of the T-1000, as I understand,” Patrick says.

“I can tell you that I saw Billy’s image when I went to Stan Winston after I got the role. Unfortunately, he got into a motorcycle accident and busted up his leg, so he wasn’t able to physically do what the role demanded.” That’s quite the “what if?” scenario, but few would complain about how things turned out — Patrick’s icy performance is part of what makes “T2” the classic it is.

The film is being re-released in 3D this week, marking 26 years since it first introduced us to Arnold Schwarzenegger’s new-and-improved Terminator. Read Patrick’s full interview here.

Source: IndieWire film