Entries in George Clooney (38)
I didn't see the latest disaster epic this weekend - but maybe you did? How many people did The Rock save with his giant arms and helicopters and diving (the three techniques he used from the trailer - I'm just guessing). San Andreas the movie may have killed off Californians but it was spectacle enough to attract the nation at large with a $50+ million opening weekend which makes this his biggest opening weekend outside of the Mummy and Fast & Furious franchises.
May 29-31 Weekend
01 San Andreas NEW $53.2
02 Pitch Perfect 2 $14.8 (cum. $147.5) Review
03 Tomorrowland $13.8 (cum. $63.1) Review
04 Mad Max Fury Road $13.6 (cum. $115.9) Review & Podcast
05 Age of Ultron $10.9 (cum. $427) Review & Marathon & Podcast
06 Aloha NEW $10 Review
07 Poltergeist $7.8 (cum. $38.2)
08 Far From The Madding Crowd $1.4 (cum. $8.3) Review
09 Hot Pursuit $1.3 (cum. $32.3) Review
10 Home $1.1 (cum. $170.4)
Meanwhile Aloha, Cameron Crowe's latest had a dismal $10 million opening (That's a dismal opening when you've got three mostly bankable A list stars) and terrible reviews - many critics calling it his worst yet. I was curious to see it despite the reviews until I heard that Emma Stone was playing a character that was meant to be half Asian American and then I was like...'you know what Hollywood? Just not doing this anymore. ENOUGH.'
In better news Mad Max and Far From The Madding Crowd (the two we're rooting for at the moment from genre quality and "make more movies like this" concerns) held fairly well in their third and fifth weekends respectively. Fury Road's exorbitant price tag isn't going to make it one of the most profitable films of the year but at least it will eventually make its money back! I had the laziest weekend ever as you probably sensed from the unusually quiet blogging... but I'm hoping you found excitement. What did you see?
NYC Readers Take Note:
I will be appearing in a show at UCB in the East Village called "So Into It" on Tuesday night (June 2nd) this week. It's a comic variety show that changes themes each month and this month the topic is 'awards shows'. I'm not totally sure what to expect but I will be interviewed on stage at some point during the show. Please note: I am not the one bringing the comedy -- not a comedian. I'm just being interviewed but I'd appreciate support from anyone reading who is So Into The Film Experience (and also non-judgmental) as I'm terrified of being on stage.
Michael C here. Last week I was here to announce that one of my anticipated 2015 titles exceeded my expectations. This week I need to come to grips how another of my most anticipated could miss the mark so badly.
Like the theme park from which it takes its inspiration, the future in Brad Bird’s Tomorrowland is not a tangible thing, but an idea, a gleaming Jetsons cityscape forever just over the horizon inspiring the better angels of our nature with its promise of utopia. It’s not “the future”. It’s THE FUTURE!
Unfortunately, where Disney World can get away with organizing a collection or attractions around nothing but a spirit of uncomplicated hope, a movie needs to build a structure around those feelings, and it’s there that Bird’s film struggles. It aims to stir the soul but its impact is dulled as it gets lost in its scattershot, thinly conceived screenplay. Enjoyment of Tomorrowland depends on one's ability to appreciate its vibe of retro optimism enough to overlook how far short it falls of its lofty ambitions...
Manuel here trying to help the social media-savvy Disney marketing team with their latest poster. Nathaniel discussed five would-be blockbusters while kicking off our We Can’t Wait series and one which was conspicuously absent (perhaps because of its constant date-shifts?) was Brad Bird’s Tomorrowland for which we got a brand new poster this past week. While I’m coolly reserved on this May 22nd film, I couldn’t help but come up with hashtags while staring at this bad boy:
#LookUp #CloudPorn #MalickMeetsDisney #ClaudioMirandaFilter #Wheatstagram #RememberTomorrow #CanBirdGoFiveForFive #DisneySynergy #MysteryPlot #StillDoNotKnowWhatThisIsAbout #InterstellarFlashbacksAnyone #BlueSkies #NotSoEmeraldCity #Normcore #Overalls #GeorgeMcQueen #LiveActionPixar #WhitherTheLeadGirl #InBirdWeTrust (or would you be an #InClooneyWeTrust kinda tagger?)
Are you excited for Tomorrowland? Gotta say, unless that new trailer totally spills the plot, I’m enjoying this “withhold everything” policy Disney & co. have been playing with this property? Might it be all smoke and mirrors, though?
No, I'm not desperate for material. I'm not!
It's just that certain other more substantive articles are taking me longer than I expected because I over do it, don'cha know. In case you haven't noticed today, our season premiere, is a special "top ten day" - lists all day!
It is no secret that I love twitter. So much truth, fun, satire, insight, and silliness in 140 characters for when your attention span is very very short. You should follow the team on twitter: Nathaniel, Michael, Anne Marie, Jason, Glenn, Amir, Abstew newbies Manuel & Margaret (...and Matthew should he ever resurface)
10 BEST TWEETS OF THE WEEK
aka random tweets that Nathaniel loved
The one thing that is more threatening to me than ebola is the proliferation of YouTube celebrities into mainstream culture.— Robert Kessler (@robertkessler) October 13, 2014
We should remake DEATH BECOMES HER using only this year's Best Actress contenders.— Jordan (@veilleuxwho) October 12, 2014
8 more: Clooney, Mean Girls, Dracula after the jump
Tonight is the "Closing Night" of the New York Film Festival (Birdman and I'm happy to report that it's wondrous) though there are screenings tomorrow making the title only honorary, really. We'll wrap up soon with Inherent Vice and Birdman thoughts and things we learned at the fest. All the screenings and the first wave of Oscar seeking interviews (coming at'cha soon) have left us seriously behind on the matter of movie trailers / teasers so here are three which you may well have seen already but let's discuss in abbreviated Yes No Maybe So fashion.
Yes - This does what teasers, hell trailers themselves, should do: intrigues but doesn't give the game away. If only full trailers would follow suit. Come on studios: Help moviegoers rediscover a little something called curiousity.
No - It's not really fair since he's had a couple of low key years but I'm feeling Clooney fatigue for some reason. Was it the wedding?
Maybe So -According to the vague summaries the story, about a futuristic utopia created by technology, is actually led by Britt Robertson (seen here discovering it via a magic pin) with Clooney in co-lead position as a former whiz kid she enlists to help her get back to this magical place and something something. Like I said: Vague. That's the best kind of pre-release info.
Yes - Trailers that are essentially one scene clips with flourishes round the edges to convey a movie are big "yes" moments. This scene, a sniper trying to decide whether to kill a woman or child is properly lose-lose upsetting.
No - that tagline "the most lethal sniper in US history" paired with "12.25.14" is gross. Thanks for the coal in the stocking, Warner Bros! Merry Christmas to you, too.
Maybe So - It's a Clint Eastwood film. As you know his aesthetic is way too dreary for me to fully enjoy (even the recent musical was dreary!) but this kind of film can get away with dreary and probably should. Don't know about the banal easy juxtaposition of "American family life!" shoved aggressively into this Middle Eastern war zone via all those inserts but I like how mundane Bradley Cooper's voice sounds in this context.
Yes - Two obvious things. 1) Submarines and ocean settings in general often make for fine thrillers given the claustrophia or 'all alone in the world' madness. And 2) Jude Law, for all of the unevenness of his career, is always watchable. Isn't it great that "he's a liability" is voiced over our glimpse of Ben Mendelsohn (Animal Kingdom, The Place Beyond the Pines)? He's anything but a liability in movies but of course he is just that in context since he's so good at playing shifty/dangerous characters. Scoot McNairy is also in it.
No - A cuisinart presentation of the whole movie, albeit without grotesque spoilers just general spoilers that the men turn against each other. But we kinda figured that with the pitch in the first minute. Still, where is the hook to care about this? Or is it assumed we will through that blaring music and fast-cutting.
Maybe So - Kevin Macdonald. Is the jury still out on him (The Last King of Scotland, The Eagle, State of Play, How I Live Now) or does everyone just expect a range from *shrug* to 'quite watchable' but never great?
Salon "Dear serial tweet-favoriter: you are a coward" lol. a must read for anyone with a Twitter account
The Uncool Cameron Crowe's agonizing search for a title for Almost Famous (2000)... in notepad form
Film School Rejects two members of the staff watched "the 50 best movies of all time" and here are their takeaways from that two year process
Antagony & Ecstasy on King Vidor's The Crowd (1928) at the great end of silent filmmaking
Kenneth in the (212) shares a pretty great X-Men related Graham Norton wherein Fassy & McAvoy see gay fan art of themselves
MNPP tries to rekindle his love for George Clooney with his three favorite Clooneys. Good choices
Variety asks where the kids movies are this summer in the absence of Pixar
The Wire "Zac Efron hits bottom by accepting life advice from Tom Cruise" haha. I'm linking that for the title alone
i09 see what your favorite webcomics would look like animated
Cinesnark terrific examination of why Captain America films are what Superman films have failed to be
Empire the ever employed Liam Neeson joins A Monster Calls... the new feature from the director of The Impossible. I can't wait until it's retitled something dull like "Dark River"
Cinema Blend The Flintstones getting a new animated feature because no franchise is allowed to ever die
In Contention The Disappearance of Eleanor Rigby will be released in three different versions. It's a neat experiment but it fills me with horror. Goodbye final cut and "definitive" versions. That's a thing of the past (Malick, Lucas, and Scott have been trying to force that on us for years with their "oh, i'm sorry did i say i was finished i wasn't finished" tinkering so I'm sure they're thrilled.)
Guardian Andrea Arnold to direct first US film, a road trip called American Honey. I hope she casts professional actors this time.