"Four Weddings and..." this is a mistake

by Deborah Lipp

Last night I sat down to watch Hulu's new series, Four Weddings and a Funeral. First I looked in their “TV” section and couldn’t find it. Then I looked in their “Originals” section – it wasn’t there. Then I searched. “F” and “FO” did not bring it up. The only result for “FOU” was Found. I had to enter the R before the title appeared in my search results.

Folks, be warned: Even the network is hiding it...

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A scattershot weekend at the box office. What did you see?

Since we haven't done a massive box office chart of everything in wide release (800+ screens) and the corresponding specialty titles in a month or so, let's do that shall we? What did you see on this scattershot weekend that had literally 9 new releases premiering and nothing truly dominant? After the jump the full chart and some context about The Farewell's major financial success (and Oscar dreams)...

Weekend Box Office August 9th-11th (Actuals) 🔺 = new or expanding / ★ = recommended
W I D E	PLATFORM / LIMITED
1 Hobbs & Shaw $25.2 (cum. $108.3) REVIEW  ★	1 🔺 The Farewell $2 on 704 screens (cum. $10.2) PERSONAL TAKE, INTERVIEW  ★

2 🔺  Scary Stories To Tell in the Dark $20.9 *new*	2 🔺  Maiden $258k on 173 screens (cum. $1.9)  REVIEW ★

3 The Lion King  $20.2 (cum. $473.3) REVIEW	3 🔺   The Peanut Butter Falcon $204k on 17 screens *new* REVIEW ★

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Review: GLOW (Season 3)

By Spencer Coile 

Despite its criminal underperformance at the Emmys this year (only scoring 5 nominations), the second season of GLOW was a marvelous piece of television. After an equally impressive first season, season 2 found the Gorgeous Ladies of Wrestling coalescing into a tighter ensemble. It was no longer just a vehicle for stars Alison Brie, Betty Gilpin, and Marc Maron. Each gorgeous lady had a rich history waiting to be told. Against the backdrop of grungy L.A., set to a mix of 80’s synth pop, GLOW pulsated with life, energy, and plenty of risks waiting to be taken. 

Season 2 ended with an offer for the ladies to adapt their syndicated show to an act in Las Vegas. Starship’s triumphant “Nothing’s Gonna Stop Us Now” begins to play as they board the bus that will land them in completely uncharted territory. With this notable shift in scenery, does GLOW season 3 pack the same punch? Pun intended...

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Horror Actressing: Sigourney Weaver in "Copycat"

by Jason Adams

Something I look forward to every single year, Film at Lincoln Center's annual week-long "Scary Movies" series, is hitting here in New York this forthcoming weekend -- check out the entire stellar run of films at this link here. While I'm most excited for Ari Aster's "Director's Cut" of Midsommar, which runs half an hour longer than the one we saw in theaters, they're mixing up showings of brand new flicks and old under-screened classics in ways that really set my toes to tingle. 

In that vein I was tempted to use this week's edition of our "Great Moments in Horror Actressing" series to talk about a performance not very many people have seen yet -- that of Maeve Higgins in Mike Ahern and Enda Loughman's horror-comedy Extra Ordinary, which I saw this past month thanks to the Fantasia Film Festival in Montreal (here's my review) and which is screening this weekend at FLC. Maeve, in her first leading lady role, absolutely shines. 

But we'll save that for when the very funny movie gets a proper release. Especially since FLC is also screening Jon Amiel's terrifically under-valued 1995 serial killer flick Copycat, starring two of our great actresses, Holly Hunter and today's focus-of-post, Sigourney effing Weaver...

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Oscar Predictions for August Complete!

It only took three days to revamp all the charts. Woohoo. Have a looksie.

In this mass overhaul we have major gains for Once Upon a Time in Hollywood and The Farewell, naturally, since both have proven themselves with critics and at the box office already. Experiencing small gains are The Irishman and Just Mercy (now that they're officially going to be premiering this year), The Lighthouse and 1917 (after their stunning teases), and Judy (sigh). Small losses were incurred by Harriet (after a somewhat generic trailer) and The Report (given Amazon's sudden cold feet about regular theatrical exposure for their films). Films tumbling downward since our April Foolish wild guesswork include The Good Liar, Ford v Ferrari, and The Goldfinch (though we're definitely looking forward to two of those).

We've also added documentary predictions for the first time this year though this is still blindfolded guesswork since we won't know what's actually eligible and long-listed for quite some time still. 

 All Pages
INDEX | PICTURE   | DIRECTOR |
ACTRESS | ACTOR | SUPP ACTRESS |
SUPP ACTOR | SCREENPLAY  |
FOREIGN FILM | ANIMATION, DOCS |
VISUALS | SOUND