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The Film Experience™ was created by Nathaniel R


 Gemini, Cinephile, Actressexual. Also loves cats. All material herein is written and copyrighted by him, unless otherwise noted. twitter | facebook | pinterest | tumblr | letterboxd

 

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Emmy Aftermath - how to fix the Emmys?

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Entries in box office (173)

Thursday
Mar282013

The Dirty Secret of Spring Breakers

Hi everyone, Tim here; you may know me from my film review blog Antagony & Ecstasy, from my dogged commitment to the Film Experience’s own Hit Me with Your Best Shot or you may not have the damnedest idea who I am and don’t care. But I’m going to be with you on Thursdays for at least a little while now, with a weekly column, where we’ll talk about… well, that’s the trick, isn’t it? Movie stuff. Whatever seems to be interesting about the new movies poking their heads around that particular week: something particular about the way a movie was put together, or conceived, or, in this case, sold.

The dirty secret of the film industry is that it exists to be profitable. It actually does good to be reminded of that, because even in the case of the costliest, sprawlingest tentpole movies, we tend to act like that the filmmakers are our buddies, or some such; but it’s true of even the most independent-minded, anti-commercial cinema that it’s actually supposed to make some sort of money. Sad as it is to think, even microbudget indies that cost fractions of pennies by movie budget standards are still wildly expensive by actual human being standards, and if they constantly hemorrhage money, then it would be impossible to keep making them.

All of which is to say: I truly don’t begrudge Annapurna Pictures the right to turn a profit on Spring Breakers, more...

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Sunday
Mar172013

Box Office Takes The Call

To no one's surprise Oz the Great and Powerful held on to its number #1 spot and also became 2013's biggest hit (thus far). But who could have forseen that the combined draw of Steve Carell and Jim Carrey wouldn't work out so well for Burt Wonderstone. And WTF with The Call's second place showing! Halle Berry hasn't opened a movie that strong since... (gulp) Catwoman nearly a full decade ago.


my phone call to Halle

What prompted people to see it? Seriously?

Box Office WIDE
01 OZ: THE GREAT AND POWERFUL $42 (cum. $145)
02 THE CALL  *new* $17.1 
03 THE INCREDIBLE BURT WONDERSTONE  *new* $10.3
04 JACK THE GIANT SLAYER  $6.2 (cum. $53.9)
05 IDENTITY THIEF $4.5  (cum. $123.7)

Box Office PLATFORM
01 SPRING BREAKERS *new* $.2 
02 STOKER  $.2 (cum. $.6) 
03 THE GATEKEEPERS  $.2 (cum. $1.3)
04 NO  $.1 (cum. $.7)
05 FROM UP ON POPPY HILL *new* $.05 

What did you see this St. Paddy's Weekend?

Monday
Mar042013

What Did You Watch This Weekend?

There was not a pot of gold at the top of that beanstalk... or rather there was but it had already been raided to build said beanstalk in the first place.

Box Office WIDE
01 JACK THE GIANT SLAYER *NEW* $28 Review
02 IDENTITY THIEF  $9.7 (cum. $107.4)
03 21 AND OVER  *NEW* $9.0
04 THE LAST EXORCISM PART II  *NEW* $8
05 SNITCH $7.7  (cum. $24.4)

Given Jack the Giant Slayer's gargantuan budget ($200 million), and the loss of the family audience next weekend when Oz: The Great and Powerful cuts it off at the knees beanstalk (har-de-har-har), this has to be a regarded as a face plant (plant. get it, I... never mind). Unless its overseas take is significantly better.

Box Office PLATFORM
01 THE GATEKEEPERS $.2 (cum. $.6)
02 STOKER *NEW* $.1 Review 
03 NO $.1 (cum. $.3) Review
04 HYDE PARK ON HUDSON  *$.04 (cum. $6.2)
05 STAND UP GUYS $.1 (cum. $3.2)

Though Stoker had a non-spectacular 'highest-per-screen-average of any movie' claim this weekend, I always wonder why genre efforts with famous stars don't open wider to begin with. I mean, seven theaters??? Sure this is an art horror film rather than a easy-sell slasher but remember when Bug opened wide and they pretended it didn't have critically acclaimed roots? It was hardly a hit but it made $3 million in its opening weekend and $7 million in total. If you hide Stoker for long enough, it won't even get to $7 million because the buzz will warn away the people who are scared of anything non-generic... which is obviously a lot of people if you look at box office receipts for horror films where interchangeable slashers tend to reign.

One unreported story of the box office this winter season is surely that the non-bankable Oscar bait failures like Quartet and Hyde Park on Hudson still somehow managed to earn non-embarrassing grosses. Especially Quartet which nearly equalled Beasts of the Southern Wild's take with about .1% of its publicity - the power of the Dowager Countess!?! 

What did you watch this weekend? I took in Stoker, Jack the Giant Slayer and a couple of 1930s movies

Sunday
Feb172013

A Beautiful Day To Box Office

I should've gone to a movie today because it's the most instantaneous cure I know for the blues. But I'm too backed up with work. Maybe tomorrow if I'm a good boy for President's Day? Bruce Willis & Jai Courtney's father/son tough guy act for A Good Day To Die Hard topped the Valentine's Weekend as the only "manly" option with several softer options competing for similar demographics. Safe Haven came in third just behind last week's champ Identity Thief. The romzomcom Warm Bodies somehow fended off the other supernatural romance Beautiful Creatures which was surely aiming for the same crowd. Was it the simplicity of the Warm Bodies concept or just its strong word of mouth in a 3rd week?

Or maybe it's those totally chaotic Beautiful Creatures commercials. What the hell is it? And can we talk about how much the posters for Beautiful Creatures looks like perfume ads!?! Especially Alice Englert's "Lena"... (I hope the bottle looks just like her necklace.)

From the commercials I'm guessing that Emmy Rossum's "Ridley" perfume smells like succulent ham.

What did you see this weekend?

If you saw Beautiful Creatures, spill. Aromatic or rotten? And you think Jane Campion ever expected her baby daughter to go so mainstream so fast?

Friday
Feb152013

Posterized: Bruce Willis, Perennial

I raced excitedly to a A Good Day To Die Hard screening earlier this week though I couldn't quite put my finger on why. As a rule of thumb, I love Bruce Willis but I don't exactly seek his movies out and haven't seen a Die Hard since the second one. (I've been the furthest thing from a loyal fan mostly because he churns out so many disposable actioners.) I was just in the right mood I guess though I am sad to report that it felt like a phone-in.

But for this week's edition of Posterized, I thought we'd look back on his whole career. I've previously applauded him for his unheralded range. Which is to say that even though he is always "Bruce Willis" he can easily slip into auteur pieces, comedies, dramas, and action flicks without ever disrupting the site-specific tonal demands. That's as true of a definition of Movie Star who also happens to be a Fine Actor as I know of. But the posters disagree with me since every other one cribs some element from the original Die Hard (1988) poster, Bruce with a tense side stare, Bruce pursing those thin lips, Bruce holding a gun (or signifying that a gun is just outside the frame with battle gear on). Every movie wants to be Die Hard... especially all the subsequent Die Hards. Die Hard 2 may be the most hilarious example of the unspoken sequel motto ("be the same movie over again... only bigger")

The "Moonlighting" Years (85-89)
aka Cybil (TV) and Demi (The Movies) share him
Blind Date (1987), Sunrise (1987), Die Hard (1988)

Seemingly hundreds of movies after the jump! How many have you seen?

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