Box Office: Grandpa Debuts, Revenant Holds, Carol Falls

What did you see this weekend? Aside from three new films catering to three different audiences (adult comedy with Dirty Grandpa, horror with The Boy, YA sci-fi with The Fifth Wave) which grossed about the same this weekend, moviegoers stuck to the familiar. They were still enamored with Leo's bear fight and that galaxy far far away. Some people are still catching up with Oscar hopefuls as all the Best Picture nominees continued to do solid business or see new life (especially Room which had been fading to a whisper and now has finally lept into wide release adding another $1.4 million to its cumulative gross).

This could be a still from Neighbors really, outside the Abercrombie & Fitch store. How many movies will Zac Efron star in where the joke is how fit and sexy he is compared to his co-star?

Spotlight and Brooklyn, which didn't wait for Oscar love to expand were already word of mouth successes so their new energy is gravy for them. But as we discussed last weekend, the Best Picture snub has killed Carol's momentum and now it's losing theaters having never spread to even 800 (so if you haven't yet been, find it quick). The Danish Girl will also be dropping fast given its similar fate (decent nomination count, no Best Picture). That's the danger of resting your box office and release patterns on Oscar attention alone, if anything goes wrong, you collapse. Nevertheless Carol will love on forever as classics do and that's the best any movie can hope for really. A lot of classics were barely blips at the box office in their day.

BOX OFFICE WIDE
01 The Revenant $16 (cum. $119.1) Costumes, Production Design 
02 The Force Awakens $14.2 (cum. $879.2) Review, Podcast, BB-8
03 Ride Along 2 $12.9 (cum. $59.1)
04 Dirty Grandpa  $11.5 new
05 The Boy $11.2 new 

BOX OFFICE LIMITED
01 Ip Man 3 $.7 new 103 screens
02 Carol   $.6 (cum. $10.5) 692 screens Oscar Snub, Adapting Highsmith, First Impressions
03 The Danish Girl  $.5 (cum. $9.7) 794 screens Podcast, Screenplay
04 Anomalisa $.3 (cum $1.4) 143 screens Podcast, Review, Festival Capsule
05 45 Years  $.2 (cum $.7) 40 screens Capsule

"The Big Short" takes PGA

Adam McKay's The Big Short got a big boost in the Oscar race last night by winning big at the PGA. This is an important win for the film considering that this Best Picture race is more slippery than we've seen in the past few years. You have to go back almost a decade to Little Miss Sunshine to find a PGA winner that didn't align with Oscar (though Oscar winner 12 Years a Slave shared a tie with Gravity).

This win also poses another setback for Spotlight, which is really going to need to win that SAG Ensemble prize this coming Saturday to stay in the game. The Revenant, while it may still be rocking the box office, also missed an opportunity here to claim its post as frontrunner after its hefty nomination tally and Globes success. Any chances Mad Maxy: Fury Road had are probably now cooked, but George Miller is still viable as a Best Director winner, especially if he takes the DGA prize.

Inside Out and Amy gained more distance from their respective competition. Both won PGA's Animated and Documentary prizes and are unlikely to be deafeated on Oscar night. The big television winners were Transparent, Game of Thrones, and Fargo.

Oscar in Panic Mode. This Rarely Ends Well...

Readers I'm getting nervous. I love the Oscars. Ever since I saw the shiny gold man on a TV guide cover as a little boy and was all "what is that?" I've been hooked. So their history means a lot to me.

It's actually because of that history that it's fun as well as uplifting to chart their progress over the years in dealing with diversity -- and there has been a lot of progress no matter what the current cultural rage would imply. It's been a thrill to see the "first this" and "first that" over the years. 

But this year things are getting ugly. The Academy often makes terrible mistakes when they're criticized (note all the 'we can't make up our minds' volatility with the rules following The Dark Knight year) and now they'll be meeting on possible rules changes including returning to 10 Picture nominees. President Cheryl Boone Isaacs promises "big changes". Some people are even floating acting fields as big as 10 nominees. This is probably the worst idea I've ever heard in relation to the Oscars. [More...]

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Linkages: Wondrous Women, Chilly Lesbians, and Academy In-Fighting

Atlantic one of the best defenses of Carol's 'coldness" that you'll read. And as I've been saying since October... "If this is chilly, bring on winter."
Awards Daily has the nominations for the Canadian Screen Awards with Room and Felix & Meara (Canada's Oscar submission) leading the way. Perhaps Canadian readers can tell me about this one: How is it different than the long running Genies? 
Comics Alliance Wonder Woman get a "brassy" logo... which looks exactly like how you'd expect since that W on her breastplate is fairly iconic
Pajiba Wonder Woman has also released a couple of very brief clips including a campy look "disguise" will glasses that will remind you instantly of Lynda Carter librarian sexy look on the TV show. Unfortunately Wonder Woman looks as dark and gloomy as the other DC movies... it's a problem when you have to constantly brighten every still in Photoshop just so you can even see it.  
The Retro Set looks at Broken Lance, that interesting 1954 western we discussed a few months back
Amiresque Amir's "Best of" choices for the film year. A reminder to me that I really should have seen Queen of Earth
The Directors Cut Auteur Paul Thomas Anderson interviews Oscar-nominated Adam McKay on The Big Short
YouTube The Suicide Squad gets a new trailer w/ Margot Robbie looking like the obvious standout

Oscar Fights & Carol Honors after the jump... 

The #Oscars. The White BET Awards. https://t.co/8qjLR0uysI

— Chris Rock (@chrisrock) January 15, 2016

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'Critics Choice' Winners List & Oscar-Calling Post-Mortem

the night doubled as a live tribute to Amy SchumerDespite the disdain many members of the media, including some within the BFCA, seem to hold for the HFPA, the organization that runs the Golden Globes, everyone seems to want to be them. The Critics Choice Awards, now in their 21st year, have had trouble emerging from that institution's shadow.

Though the CCMAs had seemed to be on a slight upswing around the turn of the decade (the Meryl Streep years of Doubt and Julie & Julia seemed to go well in terms of media interest, comparatively at least), things have been since trending downward and went truly haywire this year.  In addition to the "never take us seriously!" self-sabotage to change a nominee lineup after nominations had been announced, there are the strange impulses that can only come from not trusting the voting body such as the need to give Amy Schumer a special prize in the year when she's already going to win a normal prize.

Meanwhile the continued expansion of categories over the past several years has created a clusterf*** that requires that very few of them be televised live. Which is a pity because if they were they might be worth discussing. Mad Max Fury Road won 9 prizes but it didn't even remotely emerge from the night feeling like a big winner since only one of the nine was televised! [More...]

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