The Furniture: The Lobster's Phony Flowers

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber... 

In a 2014 interview, production designer Jacqueline Abrahams described her job as “creating an environment that is credible but sometimes incredible...always aiming to be authentic in spite of being made up.” As this was two years ago, she may not have had her work on The Lobster in mind. Yet the sentiment couldn’t be a more perfect fit for the weird universe of Yorgos Lanthimos.

The dystopia of The Lobster, after all, is not particularly flashy. It’s a world just like our own, only a little grayer. If every frame held immediate physical evidence of a dramatically different future, the carefully calibrated mood would collapse. Instead, the dystopia emerges subtly, through little gestures of performance and design.

Abrahams, a BAFTA-winner for her work on BBC’s Wallander, is an integral part of this achievement. Her presence is felt from the first shot, in which she makes her acting debut as the woman who shoots a donkey on the side of the road. Her design contributions are even more memorable.

The hotel for singles is a triumph of carefully planned ennui. If you look closely, you can pick up the tone from the very first scene within this last resort...

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Beauty Break: Cotillard & Pitt in 'Allied'

Manuel here. Have you guys seen the sweeping, swoon-worthy teaser trailer for Robert Zemeckis' Allied? If nothing else, it shows us that Zemeckis understands that Marion Cotillard and Brad Pitt are timeless movie stars whose faces deserve all the beautiful costumes and close-ups they get. The entire trailer is giving me Casablanca vibes even if I'm still unsure what the hell is going on other than these two look like they walked out of a 1940s war film.

Rather than do a regular YNMS for the trailer, I wanted to leave you with 8 moments from the teaser that made me gay gasp...

Cotillard in period garb will never get old. And that red lipstick? Divine...

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Instagram Zen

Another scorcher today so take it easy if you can. Here are three moments of celebrity chill to inspire you if you're stressed about the week: Naomi Watts drinking Watts Rose, waterfall gorgeousity with Luca Calvani, and a staring contest with Chris Hemsworth.

Who drank all the vino??!! Cheers to my bro for his #wattsuprose #heputmeuptothis #spokesister #brotherlove 😜🍷🍇

A photo posted by Naomi Watts (@naomiwatts) on Aug 14, 2016 at 6:51pm PDT

This is Great!! #LifeIsGood #Nature #gratitude #MightyHeart #brrrr

A photo posted by Luca Calvani (@lucalvani) on Aug 14, 2016 at 8:10am PDT

Had an epic "stare off" with this vicious beast today, neither of us gave an inch and both refused to back down, it went for 7 hrs and then she passed out. We both have major respect for one another now but I'm pretty sure I'm top dog round these parts from here on #turfwar #neverbackdown @valleyeyewear #doglife #humanlife

A photo posted by Chris Hemsworth (@chrishemsworth) on Aug 14, 2016 at 3:27am PDT

Review: Sausage Party

Tim here. You can't deny that Sausage Party does what it promises. It's a not-quite-parody and not-quite-satire of the Pixar-style premise of a secret world where inanimate objects have an elaborate culture unseen by humans. In this case, it's the life of a supermarket with Seth Rogen as the voice of a heroic hot dog and Kristen Wiig as the hot dog bun he loves. To this, add in a bunch of curse words and outlandishly filthy sex talk, and you've got a solid 70% of the movie.  It's not mine to say whether this is good or bad: there's no point in telling people that what they're laughing at isn't funny, and Sausage Party's audience undoubtedly knows itself.

That audience would be anybody who has loved writers Rogen & Evan Goldberg's previous forays into sex-obsessed philosophy hiding in a thick cloud of pot smoke: Superbad, The Interview, or especially This Is the End, the duo's film that Sausage Party most closely resembles. The 30% that's not cartoon characters saying raunchy things is an extension of that film's agnostic theological commentary, and not even a necessarily bad one. [More...]

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Box Office: 'Sausage Party' Is An Animated Adult Smash

This weekend while Suicide Squad suffered one of the biggest superhero second weekend dropoffs ever and Pete's Dragon had one of the mildest starts for a Disney remake, Sausage Party was breaking box office ground for adult animation. The high concept comedy had the biggest opening ever for animated film meant for grown-ups, passing 2007's violent Beowulf (apologies for reminding you of its existence).

While Party is unlikely to repeat the animation for grownups Oscar nomination breakthrough that Anomalisa achieved last year, this strong box office opening shows that medium doesn't need to appeal to the kiddies to be commercially viable. The most popular toons often become so partly because they are equally embraced by adults - we love animation just as much, so the rarity of one aimed squarely at us remains perplexing. Sausage Party is on track to surpass South Park - Bigger, Longer, and Uncut's business, so maybe we'll at least get more bawdy animated comedies if not the type of character dramas that Anomalisa was trying to deliver.

TOP TEN

01 Suicide Squad $43.7M (cum $222.9M) Review
02 Sausage Party $33.6M NEW
03 Pete's Dragon $21.5M NEW Review
04 Jason Bourne $13.6M (cum $126.8M) Review
05 Bad Moms $11.4M (cum $71.4M)
06 The Secret Lives of Pets $8.8M (cum $335.9M)
07 Star Trek Beyond $6.8M (cum $139.7M) Review
08 Florence Foster Jenkins $6.6M NEW Review
09 Nine Lives $3.5M (cum $13.5M)
10 Lights Out $3.2M (cum $61.1M)

Limited releases were mostly quiet this weekend, with the biggest winner being the well-reviewed Texas crime drama Hell or High Water. Led by Jeff Bridges, Chris Pine, and Ben Foster, the film grossed $592,000 at 32 theatres for the weekend's per screen average of almost $19K.

What did you see this weekend??