Beauty vs Beast: A Black Christmas Story

Jason from MNPP here wishing you a Happy Season with this week's ho ho holiday edition of our "Beauty vs Beast" series. If you ask me there is but one undisputed Movie King of Christmas - no it's not Frank Capra with his wingless angels and suicide bridges, nor is it Tim Burton with his antihero cat-people and scissor-handed freaks. No the Lord of Cinematic Hollies Jollies is Mr. Bob Clark, who gave us the ever-festive duo of 1983's A Christmas Story in 1974's Black Christmas. Nostalgia & Homicide - spells Xmas to me.

So this week to celebrate we'll be facing down two representational totems, one from each film - from A Christmas Story we have the infamous Sexy Leg Lamp that Ralphie's Dad buys (and that Ralphie's Mom destroys). And from Black Christmas comes the Crystal Unicorn that is used to murder the film's greatest character, drunken and acid-tongued Barb (a never funnier Margot Kidder).

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PREVIOUSLY One of 2017's greatest movies was last week's subject and it was  a blow-out for Get Out's leading man - Daniel Kaluuya took just under 3/4s of the vote. But Allison Williams shouldn't feel bad since she got some lovely notices in the comments... said IanO:

"I expected Team Chris to win so I threw my vote to Rose. Get Out is fantastic, am so happy it’s getting awards attention, but I think Williams is somewhat lost in the critical hosannas for the film. She has to walk a real tight rope and she does so with ease. A second viewing really drove home how nuanced the performance is - it’s why the key scene works so damn well."

Blueprints: "mother!"

With the announcement of the Golden Globe and SAG Award nominations this week, we are officially in the awards race. So from now until Oscars, Jorge will be examining 2017’s most talked-about movies and their screenplays. First, he shows up uninvited at a party...

mother! is a fever dream. The stream-of-consciousness journey of a woman that just wants people to get the hell out of her space. It’s a biblical allegory, a metaphor for the destruction of the environment, a hallucination of the protagonist. It’s all of these, and it is none.

Watching the movie is a trip (take that word for whatever meaning). It’s more visceral than narrative. Trying to find a traditional, cohesive plot in it is useless, and it’s better to experience it through gut reactions of the vignettes presented. But how does the screenplay look? Exactly as you would imagine...

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It's Halloween-time at the Box Office

by Nathaniel R

Weekend Box Office (October 27th-29th)
W I D E 800+ screens	L I M I T E D excluding prev. wide
1. 🔺 JIGSAW  $16.5 new	1. 🔺 LET THERE BE LIGHT $1.8 on 378 screens new
2.  BOO 2! A MADEA HALLOWEEN $10 (cum. $35.5)	2. 🔺 THE FLORIDA PROJECT $539k on 145 screens (cum. $2.1) REVIEW 1, REVIEW 2
3. GEOSTORM  $5.6 (cum. $23.5)	3.🔺 LOVING VINCENT $449k on 114 screens (cum. $2.1)
4. HAPPY DEATH DAY  $5.0 (cum. $48.3)	4. 🔺  GOODBYE CHRISTOPHER ROBIN $330k on 213 screens (cum. $633k)
5. BLADE RUNNER 2049 $3.9 (cum. $81.3) REVIEW | SHORTS | "BESTS"	5. 🔺 THE KILLING OF A SACRED DEER $221k on 33 screens (cum. $392k)  REVIEW

Moviegoers were in a horror mood -- what else is new? -- which is appropriate for Halloween time. Three of the top five were specifically seasonal while It logged what is probably it's last week in the top ten with another 2 million for its historical box office winnings. It's the highest grossing horror film ever now but only #4 of all time (not adjusted for inflation) in terms of R-rated films. It won't be able to overtake any of the top three: The Passion of the Christ, Deadpool, and American Sniper since it will surely lose a huge swath of theaters next weekend when everything at the multiplexes has to make room for Thor: Ragnarok...

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Blueprints: "Scream"

In this Halloween edition of Blueprints, Jorge Molina looks at one of the most iconic opening sequences in horror film history. Do not hang up...

Creating and building tension is one of the most important things a successful horror movie has to accomplish. It’s done, among other tools, through a combination of music, camera angles, and juxtaposition of light and shadow; that is to say, it’s done almost entirely audio-visually.

But every successful horror movie was first a successful horror script.  How does a writer project escalating tension, that dreadful atmosphere so vital in horror, in the page, with nothing but words as a weapon? Let’s take a look at our favorite scary movie to find out.

 

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This Is Halloween

By Salim Garami

What's Good? We're less than a week away from the spookiest time of the year so let's talk about what the holiday means in the cinematic sense. These are personal impressions and I hope you'll share your own as well.

We start with the actual season in itself: the autumn colors are there in a very muted way that signify the beginning of the end of the year in all its resigned reds and oranges. The palette chases away the greens and blues that took over the summer, although one could certainly see faint glimmers of those colors to remind us of the months past. Such as in Spielberg's E.T. the Extra-Terrestrial and its Halloween scene, glowing with yellowish twilight and orange rays in the sun that reflect on the suburban homes and streets Elliot and his friends walk...

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