Box Office: Divergent's Not Dead

Amir here, with the weekend's box office report. As expected by every single person not living under a rock, Divergent took the top spot, affirming the unfortunate bankability of YA adaptations. Critically and commercially, it fell somewhere much closer to Twilight than The Hunger Games, but the target demographic seems content and that's all that matters to the studio. I'm sure a sequel is already underway, though my level of interest in finding out whether the source novel actually has sequels or not also falls somewhere much closer to my interest in Twilight than The Hunger Games, no. Sorry. I’ll pass on all of them.

BOX OFFICE
01 DIVERGENT $56 *new* 
02 MUPPETS MOST WANTED $16.5 *new*
03 MR PEABODY & SHERMAN $11.7 (cum. $81) this franchise's history
04 300: RISE OF AN EMPIRE $8.6 (cum. $93.7)
05 GOD'S NOT DEAD $8.5 *new*
06 NEED FOR SPEED  $7.7 (cum. $34)
07 GRAND BUDAPEST HOTEL $6.7 (cum. $12.9) 
08 NON-STOP  $6.3 (cum. $78.6) Amir's Review 
09 THE LEGO MOVIE $4.1 (cum. $243.3) Nathaniel's Review
10 TYLER PERRY'S SINGLE MOM'S CLUB $3.1 (cum. $12.9)

Muppets Most Wanted turned out to be an ironic title for a film with such a tepid reaction. It’s a shame considering what a real delight the last Muppets outing was and that the reviews for this aren’t half bad. This one will probably just make a profit because I suspect it will have the legs to stick around for a few weeks without massive drops. You know what will definitely make a profit though and probably already has? God’s Not Dead ! Like you, dear reader, I had not heard of it until this weekend and, like you, I have not rushed to see it. The box office numbers have been astounding though, with $8m already in the bank in three days for the indie on less than 1000 screens, so someone somewhere must have heard about it. Agree or disagree with the film’s beliefs/mythology, we have to concede that no film since 12 Years a Slave had managed to so succinctly describe its entire plotline in the title.

The critical darling of the hour, The Grand Budapest Hotel, earned $6.7m, a weekend gross that Moonrise Kingdom never achieved throughout its run. It’s still a very real possibility that it will end up as Wes Anderson’s most successful hit. On the limited release side, six new films opened on Friday, the buzziest of which are Jodorowsky’s Dune and It Felt Like Love. If you are one of the extremely lucky people who live near those theatres, you might want to keep an eye out.

My weekend consisted of Pier Paolo Pasolini’s Arabian Nights, Majid Majidi’s Baduk and George Cukor’s The Philadelphia Story, and I’m happy to report I have nothing to complain about with that trio.

What did you watch this weekend?

Women's History Month: Ingrid Bergman's Joan of Arc

For Women's History Month ocassional portraits of actresses portraying iconic real women. Here is abstew with Ingrid Bergman as film's favorite saintly female warrior. 

Born: January 6, 1412 (the exact date of her birth is not exactly known, but she stated she was 19 at the time of her trial)

Death: May 30, 1431. After being captured by the English, she was imprisoned and a trial before an ecclesiastic court condemned her with heresy for which she was burned at the stake. Legend has it that her executioner begged for mercy on his soul because he had just killed a saint. 

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Monologue Special: Four Acceptance Speeches

In the Monologue series (usually on Mondays, oops) we opine on those rare onscreen moments when an actor gets a whole chunk of lines to run with. It's rarer than you'd think unless you're dealing with a stage adaptation that they haven't worried about "opening up".

Not so on Oscar night where each winner gets to speak without interruption unless the "stick man" grows impatient. Thankfully, at the 86th Oscars, they didn't play people off. The Academy producers rarely show common sense in this regard so this was a special treat. For years they've misunderstood the entire appeal of their broadcast. But think of it: What is an awards show without the spectacle of ego, wit, nerves, emotion, gratitude and body language of the acceptance speech? The acceptance speech is to awards shows, what setpieces are to action films, love scenes are to romantic drama, and what song & dance is to musicals. Without the speeches, you'd be left with haphazard montages celebrating random themes, context free fashion parades the likes of which we haven't seen since they stopped interjecting them into movies, and an Ellen DeGeneres comedy show. And nobody wants those things. Or, okay we do but maybe not together and definitely not without context!  So all praise the acceptance speech.

I would like to salute three people and chastise a fourth as quickly as I can -- which is not quickly, I know. shut up! -- after the jump...

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The Best Tweets of Oscar Night

And if Matthew McConaughey can be his own hero, I can include some of my own tweets, too! But I'll be sure to thank God as well because everything i have comes fro...

If only Bradley's arm was longer. Best photo ever. #oscars pic.twitter.com/C9U5NOtGap

— Ellen DeGeneres (@TheEllenShow) March 3, 2014

I share the tweets primarily because Ellen DeGeneres made history last night with this selfie... which isn't really a selfie because Bradley Cooper took it ...although maybe not because that's a really wide view for a selfie. And there were other versions of this picture suggesting multiple cameras, like the one I tweeted below. a selfie that's not really a selfie that contains multitudes and all of our fantasies and dreams... and Lupita's brother.

This picture will be parsed for pop cultural meaning for as long as we all shall live pic.twitter.com/WouYCgEfM4

— Nathaniel Rogers (@nathanielr) March 3, 2014

FUN TWEETS after the jump.

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The Winning Moment & The Loveable Losers

Oscar night is still rich with the thrill of victory but not, I'd argue, with the agony of defeat. At least not anymore. The Oscar race has never been as sports-analogous as some would like but the victory part in the modern awards season maybe. That requires true endurance... months of campaigning and appearance and interviews and people whisking you here and there. The agony of defeat is surely now lessened by way of expectations. There didn't use to be all these signposts along the way that you're never going to win which might account for how polite and calm the losers are in their little live-television grids. Nevertheless we still love to slow-mo the shit out of those moments.

We're doing three and a half categories (Supporting Actress, Director, Actress, and ?)  starting now...

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