Box Office: Super-sized Thor and little films that could.

by Nathaniel R

Weekend Box Office (Nov 3-5)
W I D E 800+ screens	L I M I T E D excluding prev. wide
1.🔺 Thor Ragnarok  $121 REVIEW, YOUR QUEEN	1.🔺 Let There Be Light $1.6 on 642 screens (cum. $4)
2.🔺 A Bad Mom's Christmas $17	2.🔺 LBJ $1.1 on 659 screens
3. Jigsaw  $6.7 (cum. $28.8) .	3.🔺 Florida Project $663k on 189 screens (cum. $3) REVIEW
4. Boo 2! A Madea Halloween  $4.6 (cum. $42.9)	4.🔺 Loving Vincent $590k on 205 screens (cum. $3)
5. Geostorm $3 (cum. $28.7) .	5.🔺 Killing of a Sacred Deer $401k (cum. $908k)  REVIEW

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Smackdown '44: Agnes, Aline, Angela, Ethel, and Jennifer Jones

Presenting the Supporting Actresses of '44. A low class maid, a French baroness, a patriotic nurse, a weary shop-owner and a "Chinese" village woman battled it out for Oscar gold. We're here to re-judge that contest. 

THE NOMINEES 

from left to right: Barrymore, Jones, Lansbury, MacMahon, Moorehead

Oscar was still besotted with recent nominees Jennifer Jones & Agnes Moorehead (both on their quick second nominations) but joining the party were two veterans who'd never been honored (Ethel Barrymore & Aline MacMahon) and one very fresh face who would go on to an enviably long cross-platform showbiz career, now in its 73rd year (!) -- Angela Lansbury in her film debut! 

Notable supporting roles for women that the Academy passed over in 1944 were Mary Astor (Meet Me in St Louis), Shirley Temple (Since You Went Away), Dame May Whitty (Gaslight), and Joseph Hull & Jean Adair (Arsenic & Old Lace). Can you think of any others?

THIS MONTH'S PANELISTS 

Here to talk about these five nominated turns, are: critic and writer Mark Harris (Five Came Back), journalist Loren King (The Boston Globe), critic and novelist Farran Smith Nehme (Self Styled Siren), cabarettist and actress Molly Pope, blogger and novelist Matthew Rettenmund (Boy Culture), and your host Nathaniel R (The Film Experience). And now it's time for the main event... 

1944
SUPPORTING ACTRESS SMACKDOWN  

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Sneak Peek Review: Pixar's “Coco”

Jorge Molina reporting from Mexico where Coco has already opened...

The main thing that unifies all Pixar movies (and a big part of what makes them so successful) is how deeply they are rooted in specificity. A movie set in the world of toys, in the world of bugs, in the world of monsters, of superheroes, of cars.

But in all their movies until now, this very specificity has been universal. We’ve all had to let go of toys, and feared monsters, and wanted to become superheroes. With Coco, Pixar dives into their first film that is truly specific, based around a world, a culture and a folklore that only exists for one particular group of people.

A group of people that I happen to be part of...

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Streaming: "Brawl in Cell Block 99"

by Ben Miller

Everything does not have to be filet mignon.  Sometimes, you just want a hamburger.  There is nothing wrong with a burger, and it can be really well made.  There’s a difference between the two and burgers will not be any good if you expect them to be filet mignon.

The new film from director S. Craig Zahler, Brawl in Cell Block 99, is a great burger.  And like any great burger, there are so many chances for it to go very wrong, very quickly...

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Interview: Ferenc Török of "1945" on making a Western about the aftermath of WW2

by Murtada Elfadl

On a summer day in 1945, an Orthodox Jewish man and his grown son return to a village in Hungary while the villagers prepare for the wedding of the town clerk's son. The townspeople – suspicious, remorseful, fearful, and cunning – expect the worst and behave accordingly. The town clerk fears the men may be heirs of the village's deported Jews and expects them to demand their illegally acquired property back.

In the new film 1945 director Ferenc Török tells the story of a society trying to come to terms with the recent horrors they’ve experienced, perpetrated, or just tolerated for personal gain. Based on the short story ‘Homecoming’ by Gábor T. Szántó and shot in gorgeous black and white cinematography, 1945 is a historically detailed drama that plays like a ticking clock Western. We recently spoke to Török in New York.

MURTADA ELFADL: I’m curious about the inception of the project. How did you come about it?

FERENC TÖRÖK: I read the short story by Gabor in 2004. It was visual without too much dialogue, but I thought there wasn’t enough for a feature. The timing especially was good - 1945 in the summer, after the war. It takes place in only a 2-3 hour span of time, like an old greek drama, Antigone or something. Like a western. I’ve always wanted to make a movie in real time with different points of view from different characters like a Robert Altman movie.

You mentioned westerns, I thought of High Noon while watching because of the ticking clock structure...

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