Link Hunter

Variety mourns film criticism wondering if Roger Ebert was the last critic who really mattered
Cinema Blend talks "narrative" in Oscar campaigns and what they might mean for the futures of Gravity and 12 Years a Slave
Pop Matters Matt Mazur elaborates on his comments from the last Supporting Actress Smackdown
Antagony & Ecstasy another rave review for Short Term 12, beautifully written by one of the web's best film critics. (This is why I hired him, yknow)

i09 in today's stupid remake news Neil Marshall who once directed a movie as good as The Descent is going to remake the clever Norwegian film Troll Hunter. Despite the fact that Trolls are kind of, you know, Scandinavian in nature in their appeal/fictional dominance. 
Awards Daily Sasha thinks its crazy to doubt a nomination for Sandra Bullock in Gravity. Maybe I am crazy but I'm kind of doubting it. Not wholly mind you... she's definitely in the running. But Oscar's acting branch does not like scifi and have only gone there a couple of  times really in lead (Sigourney Weaver in Aliens and Jeff Bridges in Starman spring to mind). But it could be that my feelings about the averageness of her performance are getting in the way. All that said, I do think it's strange to suggest that Oscar WANTS to reward women over 40 for being successful. On what basis is this a thing since they're always going for 20somethings when they could reward older women?
/Film Michael B Jordan, Saorsie Ronan, and David Oyelowo all being talked up for the next Star Wars movie 
Empire the first official picture from the tank-centric war film Fury starring Brad Pitt. I used to think that one day I'd grow out of Brad Pitt but it hasn't happened. And shan't. I just love him. 
Playbill Kristin Chenoweth to play Jennifer Lopez' best friend in the thriller The Boy Next Door about a woman (Lopez) who falls for her teen son's friend. I love me some Cheno but that is bizarre casting + genre weirdness, right? 

Today's Must Listens
Here's Lee Daniels talking about being gay and black in Hollywood... and in life. When asked which is harder in Hollywood he replies:

 I don’t know what to say to that. I want to answer that question to you but I have to be very honest with you that I’m afraid to answer that question because, uh, and I have to stay like Cecil and stay silent because I want to work."

Finally can we talk about BEST ORIGINAL SONG for a minute? I've been remiss as per usual in thinking through this category. IndieWire is pushing this rap number from Short Term 12, which is one of the film's key moments narratively and also emotionally courtesy of a pretty great performance from Keith Stanfield who also co-wrote the song with the director.

Until they abolish the category as some have argued they should, it's worth trying to suss out. But which songs will be eligible? Let's make a list in the comments while I'm updating my Oscar charts.

Riddick Beats The Butler. What Did You See This Weekend?

It feels somehow right in early September while the world's film critics, pundits, and bloggers and world class auteurs are all over the Globe at festivals (Telluride, Venice, Toronto) that the mainstream has to reheat ole' hit leftovers for their movie dinner. Riddick, the long awaited ... another sequel to the Pitch Black franchise took the top spot at the box office with a decent $18 million. It'll eventually turn a profit since they kept the budget reasonable (a good lesson for all B franchises... or anything really).

In other news, Lee Daniels' The Butler, which came in second after three weeks at the top, will be Lee Daniels' First 100 Million Hit by this time next week... though I can't help wishing we lived in a world where The Paperboy and Precious also got there on the grounds of "you have to see this madness!" and "can you believe the genius of Mo'Nique/Kidman?" What a wonderful world that would be! 

Also worth noting: Blue Jasmine crossed $25 million (a huge sum for a Woody Allen film though still less than half of Midnight in Paris's eventual domestic gross, and Short Term 12, buoyed by the strength of my awesome Brie Larson interview (kidding... but you should read it), took in another $100,000+. That doesn't sound big given that box office reporting tends to care only about movies with at least two more 0s on that number, you try marketing a movie about troubled foster kids and their supervisors. Well done, Cinedigm! Next week it adds 30 cities or so and if you go see it in droves I promise to quit bugging you about it. Deal? 

What did you see this weekend? Care to share?

Box Office: Got Bank? The Butler Will Get That For You.

With the major success of Lee Daniels' The Butler, second week at the top and already his highest grosser, one senses that Crazy Daniels can do whatever he wants next, carte blanche. Will it be that troubled Janis Joplin biopic as rumored? I actually hope so because I want Amy Adams to sing onscreen more (when don't I want singing actresses to do this?) and I think she could use some of the abandon that Lee Daniels seems to inspire in his actresses.

I liked her rare rougher edges in The Fighter so much. If it weren't for her meercat fixation that one time, the peak of her career might well be that porch scene with Christian Bale. What have you ever done with your life, Amy?

I like my life. I like my life [...] 

All right. I drank too much. I worked in a lot of bars. And I ruined a lot of opportunities but I'm trying to do something better here. And so is Mickey. 

Come on. Come on. People took several pieces of that heart already, baby. So bring that Janis Joplin biopic on!

Oh but now we're way off track. Where were we? The weekend box office...

BOX OFFICE
01 LEE DANIELS' THE BUTLER $17 (cum. $52.2) Podcast & Review
02 WE'RE THE MILLERS $13.5 (cum. $91.7)
03 THE MORTAL INSTRUMENTS $9.3 *new* 
04 THE WORLD'S END $8.9 *new*
05 PLANES $8.5 ($59.5)
06 ELYSIUM $7.1 (cum. $69) Podcast & Review
07 YOU'RE NEXT $7 *new*
08 PERCY JACKSON 2 $5.2 (cum. $48.3)
09 BLUE JASMINE $4.3 *wide* (cum. $14.8) Podcast & Review
10 KICK-ASS 2 $4.2 (cum. $22.4)

In limited release Wong Kar Wai's The Grandmaster led the newbies with $132,000 at 7 locations and Short Term 12 opened with $60,000 at 4 locations. If I controlled the world Short Term 12 (reviewed) would have opened on 1000 screens to sold out houses but the world is a poorer place because I do not and it did not. But go see it anyway! Fruitvale Station (reviewed) inched past $15 million and Una Noche, a Cuban film winning rave reviews that Glenn just discussed, opened with $18,500

What did YOU see this weekend? Why are you so quiet this weekend?

Podcast: "Butler" History & "Elysium" Nonsense

On this week's podcast Joe, Nick, Nathaniel and Katey discuss Foxcatcher's release date, and Elysium's fast fade nonsense from unsanitary exoskeletons to Jodie Foster's unplaceable accent.

But the bulk of the conversation is devoted to Lee Daniels' The Butler which has us all confused. Is it a terrible movie with good moments or vice versa? Whatever it is it might well be an unmissable oddity given all the celebrities crammed into it from Mariah Carey to Vanessa Redgrave and the ability to see Forest Whitaker and Oprah Winfrey in matching track suits. 

We'll also tell you which celebrities weren't in the movie that should have been. You can listen to the podcast right here or download it on iTunes. 

The Butler & Elysium

Lee Daniels' The Butler: New Title, New Poster, Same Movie

Have you seen the new poster for Lee Daniels' The Butler? Here it is. 

new poster and old poster

I like it and here's why: It looks more like a Lee Daniels movie than that stately original poster. The first poster could have been for any movie that was going the prestige FYC route. It could have been a film made by anyone, and probably someone less crazy than Lee Daniels. That's a safe assumption, statistically! Whether you love or hate his movies -- three to date: Shadowboxer, Precious, The Paperboy -- you have to admit that they're non-generic. They don't feel like they were made by committee. At all.

The silly war over the period drama's title concluded too quickly for me to finish my "Suggested Alternate Title" joke post (since I was doing mock posters. I promise it was funny. sniffle) but PERSONALITY is why I like the new poster and the retitling to Lee Daniels' The Butler. 

 The more people hear your name, you know? It's why hip hop artists say their name so much in their songs. It's why Tyler Perry puts his name before every title. It might be vanity, sure, but it's also savvy business. Once your famous enough you can do this even if you aren't the director which kinda sucks for the guy who did that job - see Tim Burton's Nightmare Before Christmas (1993) which is actually a Henry Selick movie! 

Lee Daniels presents... OprrraaaaaAAHHH

poll by twiigs.com

I've always wondered why studio marketing doesn't try to push director's names more. In this modern era where even amateurs understand the basics of personal branding, the studios are not capitalizing on or trying to build fanbases for their directors which seems like both a dumb and a dick move. Even a director as constantly successful as James Cameron often gets the "From the Director of..." without his name attached in commercials which is just stupid if you ask me. Everyone who has a unique vision, even if a lot of people hate that vision, should be trying to build a fanbase.