Sundance: The wondrous poetry of "Summertime"

by Abe Fried-Tanzer

Carlos Lopez Estrada, the director, with the cast of "Summertime" at Sundance

When Blindspotting premiered at Sundance on the opening night of the 2018 festival, the word was that two hundred ticket holders were turned away. They scheduled other screenings (where I saw the film), but it was clear that music video director Carlos López Estrada had something important to say that people wanted to hear. Just two years later, Estrada is back at Sundance opening the festival with his second feature…

In his first film, Estrada’s partner was Broadway star Daveed Diggs. This time he's working with twenty-seven spoken word artists, mostly between the ages of eighteen and twenty-six...

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Blindspotting: The Code Switches Back

Lynn Lee on Blindspotting, new on Blu-Ray and DVD today

It must be something in the air.  Or water.  Or just our general 21st century American zeitgeist as we come to grips with how far we are from anything close to a “post-racial” dialogue.  Whatever it is, 2018 is turning out to be the year for movies about racial code switching.  It’s the common thread that links projects as disparate as the gonzo anti-capitalist satire of Sorry to Bother You, the stranger-than-fiction part-comedy, part-true crime thriller BlacKkKlansman, and the Black Lives Matter-inflected YA drama The Hate U Give.  At the heart of each film is a black protagonist who, having mastered the art of speaking “white,” ultimately discovers its limits as a means of challenging society’s white-dominated power structure.

Then there’s Blindspotting, which puts its own unique spin on these themes and turns the concept of code switching on its head.  The film presents a white guy, Miles (Rafael Casal), born and bred in Oakland, who raps, talks, and acts like a walking stereotype of the ’hood even as his best friend, Collin (Tony winner and now Spirit Award nominee Daveed Diggs), has to live with the real implications of being an actual black man with a criminal record.  Despite these tensions, the bond between Collin and Miles feels genuine, reflecting the real-life friendship between Diggs and Casal...

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Box Office Possible - Fallout

by Nathaniel R

The Mission Impossible franchise (in movie form at least) is 22 years old and just won't quit (and neither will Tom Cruise) having its best opening weekend yet with film #6, Fallout. It's also Cruise's second biggest opening weekend ever after only War of the Worlds (2005). My personal favorite of the M:I franchise is Ghost Protocol from 2011. Yours? 

Weekend Box Office Estimates (July 27th-29th)
W I D E 800+ screens	L I M I T E D excluding prev. wide
Mission: Impossible - Fallout	Blindspotting
1.🔺 MISSION: IMPOSSIBLE - FALLOUT  $61.5 *NEW* REVIEW	1. 🔺 BLINDSPOTTING $1.3 on 523 screens (cum. $1.7)
2. MAMMA MIA! HERE WE GO AGAIN $15 (cum. $70.4) REVIEW	2. 🔺 EIGHTH GRADE  $1.3 on 158 screens (cum. $2.9) CAPSULE REVIEW
3. THE EQUALIZER 2 $14 (cum. $64.2)	3.  🔺THREE IDENTICAL STRANGERS $1.2 on 433 screens (cum. $6.7) REVIEW
4. HOTEL TRANSYLVANIA 3 $12.3 (cum. $119.2)	4.  LEAVE NO TRACE $499k on 289 screens (cum. $4.6) TRAILER DISCUSSION
5. 🔺 TEEN TITANS GO! TO THE MOVIES $10.5 *NEW*	5. 🔺 DON'T WORRY HE WON'T GET FAR ON FOOT $351k on 266 screens (cum. $860k)

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Box Office: Here "Mamma Mia!" goes again, to #2 on the charts

by Nathaniel R

In a surprising turn of events Mamma Mia! 2 couldn't inch past Equalizer 2 despite a much higher-grossing preceding film. The absence of Meryl versus the presence of Denzel musta tipped it because it was super close with a 34/35 million battle! Much closer than last time around when Mamma Mia! faced off with The Dark Knight on its own opening weekend back in 2008 for a 27/158 million opening weekend.

In limited release theaters were packed for two new films, the fashion doc McQueen, and the new police brutality drama Blindspotting, while A24's deeply felt and delightfully awkward Eighth Grade had a great second weekend.  What did you see this weekend?

Weekend Box Office Estimates (July 20th-22nd)
W I D E 800+ screens	L I M I T E D excluding prev. wide
Mamma Mia: Here We Go Again	Eighth Grade
1.🔺 THE EQUALIZER 2 $35.8 *NEW*	1. 🔺 THREE IDENTICAL STRANGERS $1.4 on 332 screens (cum. $4.5) REVIEW
2. 🔺MAMMA MIA: HERE WE GO AGAIN $34.3 *NEW* REVIEW	2. 🔺 LEAVE NO TRACE  $895k on 361 screens (cum. $3.6) TRAILER DISCUSSION
3.  HOTEL TRANSYLVANIA 3 $23.1 (cum. $91)	3.  🔺EIGHTH GRADE $794k on 33 screens (cum. $1.1)
4. ANT-MAN AND THE WASP $16.1 (cum. $164.6)	4.  🔺 BLINDSPOTTING $332k on 14 screens *NEW*
5. THE INCREDIBLES 2 $11.5 (cum. $557.3)	5. 🔺 DON'T WORRY HE WON'T GET FAR ON FOOT $265k on 62 screens (cum. $380k)

Sorry to Bother You	McQueen
6. JURASSIC WORLD FALLEN KINGDOM  $11 (cum. $383.9)  REVIEW	6. 🔺 SANJU $220k on 112 screens (cum. $7.6)
7. SKYSCRAPER $10.9 (cum. $46.7)	7. RBG  $168k on 116 screens  (cum. $13.1)
8. THE FIRST PURGE $4.9 (cum. $60.1)	8. WHITNEY  $118k on 117 screens (cum. $2.7)
9. 🔺 UNFRIENDED DARK WEB  $3.4 *NEW*	9. 🔺 MCQUEEN $96k on 4 screens *NEW* REVIEW
10. SORRY TO BOTHER YOU  $2.8 (cum. $10.2)  REVIEW	10. SOORMA $78k on 50 screens (cum. $328K)
🔺 = new or expanding its theater count numbers (in millions unless otherwise noted) from box office mojo