Posted September 05, 2010 by
There are just a few days until Opening Night of the 2010 Toronto International Film Festival and I've been previewing some of the titles which are on my schedule. In the past week I've selected It's Kind of a Funny Story,Stake Land, Ceremony, and Never Let Me Go as Best Bets. My typical festival calendar is filled with narrative features. And while English-speaking films are the ones which traditionally get released and are seen by North American audiences, I always try to see as many "foreign films" as possible -- i.e., subtitled films (as opposed to "foreign" films from English-speaking countries). I see so many, and love international cinema so much, that there are even selections on my schedule this year with actors and filmmakers from previous festival Top Picks.
Shown are TITLE, director, cast, country of origin, section in festival, what type of premiere it is, a brief synopsis, the film's connection to my previous festival Top Picks, the screening schedule including date, time, and venue, and ticket availability, along with the film's trailer (if any). Links will take you to the film's schedule and longer synopsis provided by the festival at the official site. You can also find great information at TOFilmfest.ca and TIFFReviews.com, two sites I highly recommend.
Here are two more Best Bets:
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Deep in the Woods (Au fond des bois)
Directed by Benoît Jacquot
Starring Isild Le Besco, Nahuel Perez Biscayart, Jérôme Kircher, Mathieu Simonet, and Bernard Rouquette
France, Germany
Special Presentations
North American Premiere
Set in the 19th century, a wild man emerges from the woods and casts a spell on the beautiful daughter of a country doctor. The two of them flee into the woods and descend into a nightmare of carnal sex, mixed with moments of tenderness, violence and abuse, before redemption and salvation arrive. See full synopsis at TIFF.
My previous festival Top Picks pedigree: Argentina's Nahuel Perez Biscayart starred in Glue, one of my favorites from the amazing 2006 Toronto International Film Festival. It also made my Top 10 of the year. The fact that his breathtaking performance in Alexis Dos Santos' picture was mostly improvised made it that much more memorable. I've followed director Dos Santos since then -- Unmade Beds impressed me at Sundance '09 and was one of the most honored films of the year -- but I've been waiting for his young star from Glue to reappear on the screen. Filmgoers are in for a treat. Isild Le Besco is another name mostly unfamiliar to North American audiences but she's an iconic French actress who, at the age of 27, has completed over 34 films. She directed, produced, and starred in Charly, a sweet little gem that was one of my Top Picks from the 2008 Tribeca Film Festival.
There will be three screenings:
Saturday, September 11
7:00 PM
Scotiabank 2
Sunday, September 12
12:00 PM
Varsity 7
Friday, September 17
10:45 PM
Isabel Bader
Tickets are still available for all three screenings at the TIFF site.
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Heartbeats
Directed by Xavier Dolan
Starring Monia Chokri, Niels Schneider, and Xavier Dolan
Canada
Special Presentations
Wunderkind filmmaker Xavier Dolan returns with his second feature – a sophisticated comedy about close friends, Francis and Marie, who pursue their mutual obsession with a young man. As they face off in competition, cracks in their friendship begin to appear with both comic and tragic results. See full synopsis at TIFF.
My previous festival Top Picks pedigree: Xavier Dolan's first feature, I Killed My Mother (J'ai Tué Ma Mère), was one of my Top Picks from last year's TIFF. It arrived in Toronto after having won the C.I.C.A.E. Award, Prix Regards Jeune, and SACD Prize (Directors' Fortnight) at Cannes. It continued to garner worldwide acclaim, picking up 22 awards in total. It was the only movie on my schedule last year which received a standing ovation. Amazingly, Dolan was only 19 when he wrote, directed, produced, and starred in the film. Heartbeats is the follow-up. 'Nuff said.
There will be two screenings:
Tuesday, September 14
6:45 PM
Varsity 8
Wednesday, September 15
3:15 PM
AMC 5
Tickets are still available for both screenings at the TIFF site.
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Posted September 04, 2010 by
The 2010 Toronto International Film Festival officially kicks off this Thursday night and, as I do every year, I'm spotlighting some Best Bets -- titles from my must-see list that, fortunately, fit into my crowded screening calendar. Many of these choices have been selected for my schedule due to the fact that they have actors or filmmakers with a good track record, films that have turned out to be among my Top Picks from previous festivals I've attended. Earlier I previewed It's Kind of a Funny Story and Stake Land. Here are some more selections, including references to those festivals where these actors and filmmakers first caught my attention.
Shown are TITLE, director, cast, country of origin, section in festival, what type of premiere it is, a brief synopsis, the film's connection to my previous festival Top Picks, the screening schedule including date, time, and venue, and ticket availability, along with the film's trailer (if any). Links will take you to the film's schedule and longer synopsis provided by the festival at the official site, which say much more than I ever could not having seen these films. I'd rather write about them afterward than predict what I might see, and my readers know I prefer not to post spoilers. You can also find great information at TOFilmfest.ca and TIFFReviews.com, two unofficial but highly recommended sites.
Here are two more Best Bets of 2010:
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Never Let Me Go
Directed by Mark Romanek
Starring Carey Mulligan, Andrew Garfield, Keira Knightley, and Charlotte Rampling
UK
Special Presentations
World Premiere
Kathy (Carey Mulligan), Tommy (Andrew Garfield) and Ruth (Keira Knightley) spent their childhood at a seemingly idyllic boarding school. When they leave the shelter of the school, the terrible truth of their fate is revealed and they must confront the deep feelings of love, jealousy and betrayal that threaten to pull them apart. See full synopsis at TIFF.
My previous festival Top Picks pedigree: Carey Mulligan became an overnight sensation and received an Academy Award nomination for Best Actress in last year's highly-acclaimed An Education, but she wowed me before that in The Greatest with Susan Sarandon, Pierce Brosnan, Aaron Johnson, and Johnny Simmons. It was my #1 Top Pick from the 2009 Sundance Film Festival and one of the best films I've seen in the last five years. I was met with blank stares when I mentioned her name until the awards started rolling in. Her performance in The Greatest has stayed in my mind since I first saw it in January 2009.
Similarly, Andrew Garfield was on my radar long before the well-publicized, worldwide search for the next Spider-Man ended with his selection. I'd seen him in Boy A, which was one of my Top Picks from the 2008 Santa Barbara Film Festival. "In a tour de force performance that dominates the film from opening title to closing credits, Andrew Garfield is frighteningly brilliant as Jack," I wrote in my 2008 review of Boy A. "It's his movie to make or break, and this role is sure to be singled out as the launching pad for what is destined to be a notable career." I'm thrilled to see that he's making it happen.
I was charmed by Keira Knightley's star turn in Atonement, which I saw at the 2007 Toronto International Film Festival. Her performance in 2005's Pride and Prejudice brought her an Oscar nomination for Best Actress. She rightly takes her place among the world's greatest at the tender age of 25.
Never Let Me Go will be released on September 15 through Fox Searchlight.
There will be three screenings:
Saturday, September 11
6:00 PM
Ryerson
Monday, September 13
11:00 AM
Visa Screening Room (Elgin)
Saturday, September 18
2:30 PM
Visa Screening Room (Elgin)
Tickets are still available for all three screenings at the TIFF site.
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Ceremony
Directed by Max Winkler
Starring Michael Angarano, Uma Thurman, Reece Thompson, Lee Pace, and Jake Johnson
USA
Discovery
World Premiere
Along with his unwilling best friend, a young guy looks to crash the wedding of an older woman with whom he's infatuated. Stars Uma Thurman. See full synopsis at TIFF.
My previous festival Top Picks pedigree: Readers of this blog are well aware of rising young star Michael Angarano. One of the most sought-after under 25-year-old actors in America, Angarano's body of work includes over 30 theatrical and television films as well as over 50 television appearances on sitcoms and dramatic series. Fans have been treated to videos and pictures of Q&As, interviews, and more as I've been fortunate to cover the World Premieres of five out of his last seven movies.
Those films whose World Premieres I attended, and the festivals at which I covered them and selected them as Top Picks, include The Bondage (2006 SXSW Film Festival and 2007 Sedona Film Festival), Black Irish (2006 Hamptons Film Festival and 2006 Avignon/New York Film Festival), Snow Angels (2007 Sundance Film Festival and 2007 Sundance at BAM), Man in the Chair (2007 Santa Barbara Film Festival), and The Final Season (2007 Tribeca Film Festival). No other journalist -- in fact, no other person in the world -- has attended more of this actor's premieres than me (not even Angarano himself). Ceremony will be my sixth, and I feel privileged to have witnessed the blossoming of this actor's career. Angarano's talents are beyond compare among those of his generation.
This is Max Winkler's directorial debut. Lead actor Reece Thompson also appears in Daydream Nation here at TIFF this year. Executive Producer Jason Reitman is no stranger to the festival. He directed TIFF's 2007 hit Juno and returned last year with three films: Up in the Air (as writer, director, and producer), Jennifer's Body (as producer), and Chloe (as producer). Jason and his father Ivan Reitman are also two of the major driving forces behind the construction of TIFF Bell Lighbox.
There will be three screenings:
Monday, September 13
6:30 PM
Isabel Bader
Wednesday, September 15
3:30 PM
Varsity 8
Sunday,September 19
8:45 PM
AMC 6
Tickets are still available for all three screenings at the TIFF site.
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Posted September 04, 2010 by
The 2010 Toronto International Film Festival officially kicks off in just five days. As usual, the excitement level is already palpable as this is the event at which all the major Hollywood studios and their "indie arms" trot out their Oscar hopefuls. In fact, Toronto has become the de facto kickoff of Academy Awards season. For me, though, it's not about that at all. As readers of this blog know, my interest is almost exclusively in independent and foreign films and, while I always see a few of the "big name" movies in Toronto, my schedule is mostly filled with those little gems from outside Hollywood that might emerge from the pack (as did Juno and Slumdog Millionaire, for example).
From 2006-2009 I saw over 105 films at TIFF. I have 32 on this year's schedule. While most are chosen ahead of time, some of the movies I see each year are last minute additions chosen from a list of available titles to fill gaps in my schedule. But, ironically, several of my post-festival Top Picks always come from that group of unplanned surprises.
I can recommend the following films based on the information I have at hand. Many of my choices have been selected for my schedule due to the fact that they have actors or filmmakers with a good track record, films that have turned out to be among my Top Picks from previous festivals I've attended.
Shown are TITLE, director, cast, country of origin, section in festival, what type of premiere it is, a brief synopsis, the film's connection to my previous festival Top Picks, the screening schedule including date, time, and venue, and ticket availability, along with the film's trailer (if any). Links will take you to the film's schedule and longer synopsis provided by the festival at the official site, which say much more than I ever could not having seen these films. I'd rather write about them afterward than predict what I might see, and my readers know I prefer not to post spoilers. You can also find great information at TOFilmfest.ca and TIFFReviews.com, two unofficial but highly recommended sites.
Here are my first two Best Bets of 2010:
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Stake Land
Directed by Jim Mickle
Starring Nick Damici, Connor Paolo, Danielle Harris, Kelly McGillis, and Michael Cerveris
USA
Midnight Madness
World Premiere
In the aftermath of a vampire epidemic, a teen is taken in by a grizzled vampire hunter on a road trip through a post-apocalyptic America, battling both the bloodsuckers and a fundamentalist militia that interprets the plague as the Lord’s work. See full synopsis at TIFF.
My previous festival Top Picks pedigree: In the midst of the darkness that is Snow Angels, my #1 Top Pick from the 2007 Sundance Film Festival, there are some lighter moments. In a film that is decidedly down, Connor Paolo provides most of the much-needed comic relief. Every scene he was in elicited laughter from the audience, so much so that as soon as he would appear onscreen the folks around me would smile. His scenes were a joy to watch. Paolo (now 20) began his film career in Mystic River and as the young Alexander in the film of the same name. He's probably best known as Eric on Fox's hit television show Gossip Girl, but it was his performance in Snow Angels that put him on my radar.
A veteran film crew member, this is Jim Mickle's second feature as a director. He co-wrote the script with Nick Damici (who was also in the cast of World Trade Center with Connor Paolo). The picture has theatrical distribution through Dark Sky Films.
There will be three screenings:
Friday, September 17
11:59 PM
Ryerson
Saturday, September 18
12:15 PM
Scotiabank 4
Sunday, September 19
9:00 PM
AMC 2
Tickets are still available for all three screenings at the TIFF site.
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It's Kind of a Funny Story
Directed by Anna Boden and Ryan Fleck
Starring Keir Gilchrist, Zach Galifianakis, Emma Roberts, Viola Davis, and Zoë Kravitz
USA
Special Presentations
World Premiere
Stressed-out teenager Craig (Keir Gilchrist) checks himself into a mental health clinic – where he finds himself in the adult ward. Sustained by friendships on both the inside and the outside, Craig learns more about life, love and the pressures of growing up. See full synopsis at TIFF.
My previous festival Top Picks pedigree: George Ryga's Hungry Hills was one of my Top Picks from last year's Toronto International Film Festival, largely due to the performance of Keir Gilchrist. I was mostly impressed by the extent of emotions conveyed in his eyes, facial expressions, and body language in the many long takes with little dialogue -- a talent normally reserved for seasoned actors (which Gilchrist actually was, despite being only 16 at the time). He's perhaps best known as Marshall in the Showtime series The United States of Tara, now in its third season. But it was this film that marked him in my book as someone to watch for.
In Lymelife, my #2 Top Pick of the Toronto International Film Festival, Emma Roberts truly won my heart. Her relationship with Rory Culkin's character remains one of the the best depictions of first love and awkward sexual encounters I've ever seen on screen. Roberts also appears in What's Wrong with Virginia here at TIFF. Zoe Kravitz can be seen in The Greatest with Susan Sarandon, Pierce Brosnan, Carey Mulligan, Aaron Johnson, and Johnny Simmons. It was my #1 Top Pick from the 2009 Sundance Film Festival and one of the best films I've seen in the last five years. She also turns in a brilliant performance in Beware The Gonzo with Ezra Miller, one of my Top Picks from this year's Tribeca Film Festival. Zach Galafianakis showed up in two films at TIFF last year -- the award-winning Up in the Air and the Michael Cera vehicle Youth in Revolt.
Anna Boden and Ryan Fleck's Half Nelson was one of the most acclaimed films of 2006. It's Kind of a Funny Story will be released on October 8 through Focus Features.
There will be two screenings:
Saturday, September 11
9:00 PM
Ryerson
Friday, September 17
9:00 AM
Varsity 8
Tickets are still available for both screenings at the TIFF site.
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Posted September 03, 2010 by
The countdown to Fantastic Fest is on, with Opening Night in less than three weeks. I'll be there and you can count on my usual blanket coverage, of course. I've described Fantastic Fest as more of a convention -- a Comic-Con, if you will -- as opposed to a conventional "film festival." There's always a wide range of interactive activities and discussions in addition to the screenings. But those movies will surely be the main attraction, especially for this journalist, who's made no secret of his love for genre films.This year's event runs from September 23-30 in rockin' Austin, Texas. This is also the location of the prestigious SXSW Film Festival, and readers of this blog know that my annual coverage of SXSW gushes with accolades for the venues there -- arguably the best in America -- the very same ones used for screenings at this festival.
The first wave of 13 films was unveiled last month, followed by the announcements of the Gala Opening Night Films, Let Me In and Buried. The second wave was revealed last Friday, adding 16 more features to the previously announced lineup.
Over 40 short films have now been announced. "The festival has amassed the ultimate array of cool, twisted, beautiful, mind-bending, horrifying and hilarious short films," the festival said in a statement. "The best short films can pack in more emotion, laughs adrenaline, creativity and flat-out insanity than a million big-budget blockbusters. Or they can show you something so ambitiously horrendous that you beg for mercy."
The following films will be shown both before features as well as grouped in programs, indicated below (descriptions provided by the festival):
5 Minute Dating
Canada, Director: Peter Hatch
A dating service where anyone can find their soul mate.
12 Years
Germany, Director: Daniel Nocke
We're not the only species that needs to endure the wrenching pain of relationships gone sour.
The Astronomer’s Sun
UK, Director: David Bunting
Lovely animated story about a boy and his bear and the secrets of the universe
Atomic Hubbub
UK, Director: Stephen Irwin
Here's the newest way to enjoy mankind's impending self-apocalypse.
Barcelona Venecia
Spain, Director: David Muñoz
When you've accidentally slipped through a wormhole, you'd better hope your guide isn't a jackass.
By Night
Germany, Director: Juan DiazB
A man copes with the pain of life through a very unusual medium: snow globes.
Careful with that Crossbow
New Zealand, Director: Jason Stutter
Two children engage in a seemingly innocent game of William Tell.
Culebra
US, Director: Sean Carter
In the desert between the US and Mexico, there are more terrifying things to watch out for than the border guards.
Deus Irae
Argentina, Director: Pedro Cristiani
Exorcism. It's a dirty job, but someone's got to do it.
Fard
France, Director: David Alapont and Luis Briceño
A civilization built on the idea that "What you don't see doesn't exist" is severely disturbed when a man opens a mysterious package.
El Fin Del Mundo
Spain, Director: Alberto Gonzales
President Reagan has an extremely important message for us.
Giant
UK, Director: Yann Benedi
A bittersweet introduction to the not-so-human condition.
The Importance of Awards in Advertising
US, Director: Jim Hosking
A concise, informative, hairy and fairly nude introduction to the world of big business.
Interview
Germany, Director: Sebastian Marka
A journalist scores an interview with a notorious and so far uncaptured serial killer.
It's Me, Helmut
Switzerland/Germany, Director: N. Steiner
Happy birthday! Your entire life was squandered and you'll die alone!
Jaulas
Mexico, Director: Juan Jose Medina
A man treads across a post-apocalyptic landscape carrying a bitter, vengeful burden.
King Chicken
Canada, Director: Nicolas Bolduc
Even the most ridiculous, lonely people can find romance. Wait. No. Probably not.
King Jeff
UK, Director: Phil Dale
Two costumed medieval wannabes are forced to face off against all-too-real foes.
The Legend of Beaver Dam
Canada, Director: Jerome Sable
A bloodthirsty campfire terror legend goes...musical?
Music for One Apartment and Six Drummers
Sweden, Director: Johannes Stjärne Nilsson and Ola Simonsson
Percussion reaches bold new heights in this brilliantly unique tale of urban paradiddles and ratamacues.
My Invisible Friend
Spain, Director: Pablo Larcuen
A semi-catatonic young man is finally able to reach beyond his world of porn and video games thanks to his first and only friend: an alien fish-man.
Ninjas
Brazil, Director: Dennison Ramalho
Emotionally tortured after accidentally shooting a child, a policeman is offered a brutal shot at redemption.
Off Season
USA/UK, Director: Jacob Jaffke
A burglar and his dog navigate seasonally abandoned houses, and find someone is committing much more terrible crimes.
One Man and His Dog
UK, Director: Jonathan Hopkins
An interstellar would-be savior stumbles across a violent flim-flam man. Hijinks ensue.
Only Son
New Zealand, Director: thedownlowconcept
A young man receives unwanted dating advice from his dead father.
La Petit Mort
Germany, Director: Jan Gallasch
This nurse does not abide by the Hippocratic Oath.
Piano Man
USA, Director: Andrew Wilding
It's the perfect crime...what could possibly go wrong?
Picnic
Sweden, Director: Henrik Andersson
A happy couple enjoying a gorgeous summer day together is unprepared for the difficulties that attack their peaceful life.
La Piñata
Spain, Director: Manuel Arija
A street performer draws a tremendous crowd, including a young lady who may regret watching.
Pixels
France, Director: Patrick Jean
A full-scale invasion from the 8-bit dimension!!!
Protoparticles
Spain, Director: Chema Garcia Ibarra
Life is hard. Life in a hermetically sealed space suit is nearly impossible.
Renegades
USA, Director: Jim Hosking
Two tragic friends enter a world of weaponry, nudity and cake shaped like a clown's head.
Le Rescape du Hippocampe
France, Director: Julien Lecat
A woman enters the deepest recesses of her friend's brain to help him get back on track.
Rise of the Living Corpse
Canada, Director: Chris Walsh
Rotting flesh breaks soil and the fun begins. The shortest short in FF history.
Rosenhill
Sweden, Director: Johan Lundborg and Johan Storm
A lovable grandmother is certain that her nursing home caretakers are murderous maniacs. She's right.
Sasquatch Birth Journal 2
USA, Director: The Zellner Brothers
An unprecedented peek at the mysteries of nature.
Seed
Czech Republic/UK/USA, Director: Ben Richardson and Daniel Bird
Birth. Junk. Expansion. Technology. Death. Usually in that order.
Sorry...I Love You
Spain, Director: Leticia Dolera
A shy, possibly non-human man ends up working with a girl who makes his heart -- or something else in his chest -- go pitter-pat.
St. Christophorus: Roadkill
Germany, Director: Gregor Erler
With the help of some corrupt cops, a man driving through the forest of Germany has the worst goddamn night in history.
Stranger Hero
USA, Director: Stephen Carolan
Prepare to witness the power of the ultimate warrior of the lost world: Stranger Hero!!
Teclópolis
Argentina, Director: Javier Mrad
Impossible landscapes created by everyday objects. Hypnotic and perfect.
To My Mother and Father
UK, Director: Can Evrenol
A nightmarish example of a practical joke gone awry.
Uncle Jack
USA, Director: Jamin Winans
A very special uncle soothes his nephew with a very special bedtime story.
Unholy Night
Sweden, Director: Arni Jonsson
Original Icelandic legend provides for 13 Santa Clauses, each of whom arrive in succession on different nights. But their Santas aren't as benevolent as ours, and tonight is the night for the one they call "Meathook."
United Monster Talent Agency
USA, Director: Greg Nicotero
You're likely already familiar with the classic monster films of Hollywood's golden age. Now, learn how tough it was to get those monsters to behave on camera!
Vision
UK, Director: Jamie Hooper
A young woman receives a mysterious DVD in the post. She soon comes to realize that pressing “play” was a bad mistake.
Voltage
Brazil, Director: Filippe Lyra and William Paiva
A crew of robots teaches us lousy humans how it's really done.
Wisdom Teeth
USA, Director: Don Hertzfeldt
The latest hilarious heart wrecker from unstoppable animation force Don Hertzfeldt!
Yuri
Switzerland, Director: Cécile Brun, Katja Schiendorfer, Immanuel Wagner and Nils Hedinger
An astronaut wanders the spaceways in search of new life. When something shows up...he's at a loss.
Shorts programs:
DRAWN & QUARTERED: Animated Shorts
It's been said that animation isn't just for kids anymore. Well, that's ESPECIALLY the case at Fantastic Fest. We'll be showcasing all aspects of genre entertainment in animated form, some of which will make you laugh, and some of which will make your bodily functions shut down entirely.
12 YEARS
ATOMIC HUBBUB
THE ASTRONOMERS SUN
FARD
GIANT
JAULAS
PIXELS
RISE OF THE LIVING CORPSE
SEED
TECLOPOLIS
VOLTAGE
WISDOM TEETH
YURI
Short Fuse! Severe Fantastic Fest Shorts
The best short films can pack in more adrenaline, creativity and flat-out insanity than a million big-budget blockbusters. Or they can show you something so ambitiously horrendous that you beg for mercy. Your intrepid Fantastic Fest programmers have scoured the international celluloid goldmines for the most skull-bursting, taste-annihilating and eyeball-destroying shorts in existence, and this program is truly the mother load.
DEUS IRAE
THE LEGEND OF BEAVER DAM
INTERVIEW
NINJAS
OFF SEASON
ROSENHILL
TO MY MOTHER AND FATHER
Everything you need to know about Fantastic Fest 2010 is available at the festival's official site, Facebook, and Twitter.
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Posted September 02, 2010 by
The Telluride Film Festival takes place in Colorado every Labor Day weekend. That much is certain. What is not certain, however, are the films which will be playing there -- at least not until the screenings are about to begin. This is an oddity in the festival world which has no equal. Attendees truly have no idea what movies they'll be seeing until they've already arrived.Clearly, anyone who makes a decision whether or not to go to an event based on the lineup is left out in the cold. This is one festival where the tickets must be purchased and travel plans made sight unseen. This always ensures a sold-out event as the films are typically World, North American, or US Premieres of films that are high-profile prospects for Oscar season. Attendees know this and rely on faith every year that their investment will pay off as travel plans are made well ahead of time.
The downside, for those of us attending the Toronto International Film Festival, is that Telluride always take place just prior to TIFF and often books films that are "scheduled" as World, International, or North American Premieres in Toronto. This essentially pulls the rug out from under TIFF and spoils their premiere status. On the other hand, Telluride is in reality a VIP-only event which means, as I'll explain below, that it "doesn't count" against TIFF's designations.
The rules are restrictive. Unlike other festivals, individual tickets cannot be purchased in advance -- only just prior to the start of a screening. Only passes are sold ahead of time, and the cost can be prohibitive. The area is also hard to reach so transportation and lodging is at a premium. So the nature of the festival and expense involved tends to restrict its attendance to industry insiders. This often does not allow Telluride to steal premiere status for these films and Toronto still gets to make that claim. It's a complicated formula but those are the de facto rules.
The festival begins tomorrow and runs for four days, September 3-6. Here is the complete list of narrative features, documentaries, and shorts:
THE SHOW
“A Letter to Elia,” directed by Martin Scorcese and Kent Jones
“Another Year,” directed by Mike Leigh
“Biutiful,” directed by Alejandro Gonzales Inarritu
“Brandy in the Wilderness,” directed by Stanton Kaye (1968)
“Carlos,” directed by Olivier Assayas
“Chicago,” directed by Cecil B. DeMille (1927)
“Chico and Rita,” directed by Fernando Trueba
“The First Grader,” directed by Justin Chadwick
“The First Movie,” directed by Mark Cousins
“The Girl With The Suitcase,” directed by Valerio Zurlini (1961)
“The Illusionist,” directed by Sylvain Chomet
“Happy People: A Year in the Taiga,” directed by Werner Herzog and Dmitry Vasyukov
“If I Want To Whistle, I Whistle,” directed by Florin Serban
“Incendies,” directed by Denis Villeneuve
“Inside Job,” directed by Charles Ferguson
“The King’s Speech,” directed by Tom Hooper
“Moana: A Story of the South Seas,” directed by Robert Flaherty (1927)
“Never Let Me Go,” directed by Mark Romanek
“Of Gods and Men,” directed by Xavier Beauvois
“Oka! Amerikee,” directed by Lavinia Currier
“The Plummer,” directed by Peter Weir (1976)
“Poetry,” directed by Lee Chang-dong
“Precious Life,” directed by Shlomi Eldar
“The Princess of Montpensier,” directed by Bertrand Tavernier
“Le Quattro Volte,” directed by Michelangelo Frammartino
“Rotaie” directed by Mario Camerini (1930)
“Tabloid,” directed by Errol Morris
“Tamara Drewe,” directed by Stephen Frears
“The Tenth Inning,” directed by Ken Burns
“The Way Back,” directed by Peter Weir
Six Films: Curated by Michael Ondaatje
“The Ascent,” directed by Larisa Shepitko (1977)
“Confidence,” directed by Istvan Szabo (1980)
“Fat City,” directed by John Huston (1972)
“Here’s Your Life,” directed by Jan Troell (1966)
“The Hustler,” directed by Robert Rossen (1961)
“Mother Dao, the Turtlelike,” directed by (1995)
Spotlight on Harutyun Khachatryan
“Border,” by Harutyun Khachatryan
“Return of the Poet,” by Harutyun Khachatryan
Backlot
“...But Film is My Mistress,” directed by Stig Bjorkman
“Cameraman: The Life and Work of Jack Cardiff,” directed by Craig McCall
“Chekhov for Children,” directed by Sasha Waters Freyer
“Daniel Schmid: Le Chat Qui Pense,” directed by Pascal Hoffman and Benny Jaberg
“Documentarist,” directed by Harutyun Khachatryan
“Hurricane Kalatozov,” directed by Patrick Cazals
“Images from a Playground,” directed by Stig Bjorkman
“Moguls and Movie Stars,” directed by Jon Wilkman
“The Magnificent Tati,” directed by Michael House
“Music Makers of the Blue Ridge,” by David Hoffman
“On ‘Being There’ with Richard Leacock,” directed by Jane Weiner
“Pygmies in Paris,” directed by Mark Kidel with “African Pygmy Thrills”
“The World According to Ion B.,” directed by Alexander Nanau
Showcase for Shorts
“The Cow Who Wanted To Be A Hamburger,” directed by Bill Plympton
“Dennis Jakob Unplugged,” directed by Errol Morris
“For the Birds,” directed by Ralph Eggleston
“Frozen,” directed by Naghi Nemati
“Mickey Bader,” directed by Frida Kempff
“The Shadow’s Dream” directed by Jeff Scher
“Stretching,” directed by Francois Vogel
Filmmakers of Tomorrow
“Dreams Awake,” directed by Kevin Gordon and Rebekah Meredith
“God of Love,” directed by Lukas Matheny
“The Love Song of Iskra Prufrock,” directed by Lucy Gaffy
“Off Season,” directed by Jonathan Van Tulleken
“On Leave,” directed by Asaf Saban
“The Queen,” directed by Christina Choe
“Woman in Purple,” directed by Igor Drljaca
“Wolves,” directed by Rafael Sommerhalder
Great Expectations
“Come To Me,” directed by Ewa Banaszkiewicz
“Fatenah,” directed by Admad Habash
“Poster Girl,” directed by Sara Nesson
Calling Cards
“Deeper Than Yesterday,” directed by Ariel Kleiman
“Ezra Rishona,” directed by Yarden Karmin
“Flawed,” directed by Andrea Dorfman
“Hideg Berek,” directed by Mihaly Schwechtje
“Let’s Harvest the Organs of Death Row Inmates,” directed by Max Joseph
“On the Run with Abdul,” directed by David Lale
“Tussilago,” directed by Jonas Odell
Thanks to indieWIRE for the list.
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Posted September 01, 2010 by
The internet is filled with entertainment websites and movie blogs whose writers are in the midst of picking their "must-see movies" at the 2010 Toronto International Film Festival, which gets underway one week from tomorrow. I've seen many other journalists' selections and, as much as I respect and admire their opinions, I'm proud to say that my own list is quite different from most. Contrarian am I? No. There are many reasons why but some should be obvious, especially to those who follow this blog. For one, I don't attend film festivals to see blockbuster movies that will be coming out in theaters within weeks (or even days) anyway. What's the point? The AMC Neshaminy 24 is only 15 minutes from me and I don't have to go through customs.
The only real reason to do so, for me, would be to have the unique opportunity to question the actors and filmmakers in the insightful Q&As which typically follow festival screenings. However, the venues which are increasingly being chosen to showcase these high-profile works (Roy Thomson Hall, Visa Screening Room at the Elgin) rarely allow for a Q&A, let alone the chance to meet & greet afterward.
My TIFF selections, as with all festivals I attend, lean toward titles that do not yet have distribution. It allows me, as an advocacy journalist and admitted cheerleader of great films, to get in on the ground floor and help bring them attention. That's exciting. More than catching a glimpse of some A-lister sitting 20 rows behind me. After all, why recommend a movie everyone is already talking about? Clint Eastwood and Robert Redford certainly don't need any more PR from me (nothing against the men, but they have very high-profile films at TIFF and I'm sure they won't have any problem filling the seats). I also fill my calendar with foreign films, many of which will probably never be distributed here. They're often the best films I see all year and this may be the only opportunity to do so.
So what movies do I recommend? In reality I can't say since I haven't seen any yet. But I can try, at least, because many have directors and actors whose past work I admire. Even if my best friend was in a film I honestly couldn't say good things about it until I'd seen it. But I might recommend doing so based on history. I've made many of my choices due to the fact that they have cast members or filmmakers with a good track record, movies that have turned out to be Top Picks from previous festivals I've attended. Over the next week I'll be writing some previews of those films.
Wrapping up, what my work revolves around more than anything, what I've devoted myself to, can be summed up this way: see a film, love it, write about it, spread the word, see it get picked up, get released theatrically, and finally make its way into your living room on DVD. New distribution platforms (video on demand, internet) have changed that dynamic a bit but the basic idea is the same.
Then the cycle continues, and here's where the film festival selection process comes in. The next step, for me, is to remain loyal to the filmmakers and actors who made those movies and continue to support them, hope they go on doing quality work, and make more movies that I can recommend. And, of course, I hope to find new actors and directors in the process whose films excite me. That's what I'm about.
My film festival philosophy: You don't discover an undiscovered gem by walking into a jewelry store. You go to the mine and dig.
TIFF attendees who purchased packages in advance have already completed the selection process and will be able to pick up their tickets starting tomorrow. But individual tickets go on sale to the general public on Friday, and many are in the midst of choosing what films to see. So here's my advice.
Dare to open the festival program and select a film with actors you've never heard of, with an odd title, from a country you can't locate on a map. Take a chance on a movie nobody's talking about. You just might discover a gem. But only if you dare to dig.
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Posted August 31, 2010 by
Last of a four-part seriesIn Real Tips For Real People #1, I offered some general advice for travelers headed to the 35th Toronto International Film Festival (TIFF), which runs from September 9-19. In Part 2 we went over some of the rules, etiquette, and secrets of what happens from the moment you enter the theater until you leave. And yesterday, in Part 3, I helped guide you through the logistics of getting from place to place in order to calculate travel time between venues.
The final consideration in deciding how big a gap to allow between the end of one screening and start of another can be summed up in three words: waiting in line, and I'll cover that in this set of tips. When I talk to people who haven't been to TIFF (or any festival, for that matter) the term "waiting in line" usually elicits looks of horror. But to those of us who've been there, the reaction is more of a big grin.
You see, waiting in line is a time-honored tradition which ranks right up there with Thanksgiving dinners, family reunions, and holiday barbecues. It's a time when festival veterans meet up with folks they may only see once a year, and make new friends whom they hope to see in future Septembers. Waiting in line also offers one of the best opportunities to fill out your schedule with one question posed to a line mate: "So what have you liked so far?"
1) First, some non-venue-specific generalities. Each location handles it differently but there are usually two lines: one for ticket holders and the "rush line," for those who will fill any empty seats just prior to the screening. Ticket holders get in first. Once they're seated rush line patrons may purchase individual tickets and take any empty seats remaining at that point. The official festival policy for ticket holders states, "Your tickets guarantee admission to your film until 15 minutes prior to the posted screening time. If you arrive fewer than 15 minutes before the start, your seat may be released. Latecomers will only be seated at the discretion of the theatre staff. There will be no admittance 10 minutes after the scheduled start time of a screening." For the purposes of this article I'll assume you're a ticket holder, as the procedure for getting tickets is itself worthy of an entire article.
2) Upon arrival at the venue you should immediately be able to see where the lines are located and which is which. If not, there are usually clearly marked signs and there is always a multitude of volunteers who really are extremely helpful. If you're lost or confused, do not hesitate to ask for help. They usually have the answer and, if not, can get on the horn and flag down someone who does. Chances are the people in line also know what line they're in.
3) Take your place at the end of the appropriate line and try to spark up a conversation with someone ahead of you (or behind you, as you surely won't be last for long). Even if you're with one or more people it's a smart thing to get to know the folks around you, especially since you may be standing together (or sitting) for a long, long time.
4) Normal social rules don't necessarily apply here. It is generally not considered rude to "overhear" someone else's conversation about a particular film and ask a question or give your opinion about it. Of course there are exceptions, but of the hundreds of times I've done it I rarely recall anyone treating me with disdain for poking my head in to discuss a film. Likewise, you should expect others to hear what you are saying and be prepared for them to chime in. It goes without saying that the reaction you get will vary if the person hasn't seen anything yet or hated everything they have seen. It's okay to slink away and slyly turn to someone else. Just be sure to avoid spoilers. Saying anything that might give away important plot points for those who might be within earshot and haven't yet seen the film being discussed is a big "no-no." Everyone waiting in line is part of one big community (I've actually waited in line and joined in a rousing chorus of "Kum Ba Yah," but that was at a Midnight Madness screening at the Ryerson and those patrons, myself included, have their own unique subculture).
5) Naturally, some prefer to simply carry a good book or read the morning paper. But you'd be surprised how fast the time flies when you're engaged in conversation about the films you've seen and liked, didn't like, or hope to see. Some of my favorite films from festivals past were called to my attention from discussions while waiting in line. I've also learned what to avoid. I can't stress it any more: I have never turned to someone standing next to me and asked, "so what have you seen/liked/not liked so far?" and not gotten into an engaging conversation. Even folks who look like they've had the worst day can be the most pleasant when approached. I've made some great friends this way and lifelong relationships can be forged while waiting in line.
6) Now for some venue-specific tips. Like my earlier posts, this is not meant to be all-encompassing, but just some points based on my own experiences. Some rules apply to all locations. For example, the larger the party the less likely you'll find seats together, and the earlier you'll want to arrive (and the longer you'll wait in line) if you do want to. If you're solo or don't mind sitting apart you can afford to arrive later (and not wait as long).
7) Of the several multiplexes utilized by the festival, my personal favorite is the Scotiabank at Richmond and John Streets. Outside the building you'll find festival volunteers clearly separating those entering and exiting. After passing through the doors you'll be directed up what must be one of the longest single escalators in North America. You're even entertained with a sound and light show as you ascend. You'll then walk through an intimate circular lobby with a food court and even a small café with hot drinks and tables.
The Scotiabank dedicates four screens to the festival and, depending on the theater, the line will either snake bank-style around ropes outside the house doors or along a wall towards the rear. At first glance it looks like mayhem but is actually very well-organized. It's quite easy to leave the line and come back for any reason as neighbors generally are happy to hold your place. The popcorn and poutine may be irresistible. The houses vary in size from one to several hundred.
In my experience the lines here are not as long as at other venues, perhaps because it's not as centrally located and uses less screens than the larger AMC. In most cases if I showed up an hour beforehand I'd be first in line. A wait of a half hour is usually sufficient. I've staggered in ten minutes prior to the start of the film and still gotten a good seat, although I don't recommend it and the festival does not guarantee admission less than 15 minutes before the start of a film. Of course, all this varies depending on the popularity of the film, size of the house, time of day, and number of screenings the film may already have had. In my opinion these are the coziest lines because they're indoors and comfortable.
8) As I mentioned in a previous post, the AMC in Toronto Life Square, at the bustling intersection of Yonge and Dundas, is situated within a large multi-level mall. Due to the cramped, narrow nature of the space upstairs where the theatres are, and fire regulations, lines last year were held outside the building and stretched around the corner. Procedures changed during the week but for most of my screenings there was one single line for all ticketholders. Even though the folks waiting in line may have been there for a half dozen different films beginning at staggered times on the many screens dedicated to TIFF (eight this year), there was simply no room to keep separate lines for each screening. Staffers would yell out the name of the film and those ticketholders would step out of the line and move forward.
Patrons would then be escorted up several flights of escalators prior to the start of each film. Those attending successive screenings there faced a dilemma. It's a bit frustrating to walk out of a theater knowing your next film starts in just a few minutes in the exact same house and have to leave the building and get in the back of a line winding around the block. So some filmgoers found a place to chill in the food court and carefully observed the lines as they headed up the several flights of escalators. The festival instituted various methods of combating this as time went on.
Theatre capacities here vary as well but since one line was used for all screenings it was very deceptive. One might arrive to see a line of several hundred people winding its way down the block and yet they may all have been there for another film. It was nearly impossible to tell how good a spot you had and very hard to predict how early to get there. I usually allowed up to an hour but, again, all this varies depending on the popularity of the film, size of the house, time of day, and number of screenings the film may already have had.
In general I found this venue to be much more popular than Scotiabank and Varsity with longer lines. It was not a very pleasant experience and a bit confusing although the volunteers did their best and it didn't take away from the experience. Patrons on the sidewalk also had to contend with college students and workers coming and going throughout the day.
9) The Varsity is dedicating two screens to TIFF this year. It's part of the Manulife Centre, a large shopping mall on Bloor Street with plenty to see and do between screenings. Most people will arrive indoors via the mall's many entrances. Signage is terrific and it shouldn't be hard to find the escalators and elevators that lead up to the theatres. However, the theatre lobby itself is almost nonexistent so lines typically wind along the walls, down emergency staircases, and outside the building. As time goes on you'll be able to discern how long it will take based on where the line ends but it's very hard to tell.
In general, though, I found the lines and waiting times to be similar to Scotiabank with a half hour usually being sufficient. Again, all this varies depending on the popularity of the film, size of the house, time of day, and number of screenings the film may already have had. Comfort level depends on whether or not you're early enough in line to actually be inside the building, in the part of the line winding down the staircase, or outside on the street. The one advantage of being on the stairs is ease of sitting down if one desires.
10) If only by virtue of the mathematics involved, most people will see the bulk of their films at the above multiplexes. But there are a handful of other venues, proscenium arch theatres with stages and converted auditorums, which host many festival screenings. These include some of the most high-profile ones in the Galas and Special Presentations sections. The biggest red carpet events take place at Roy Thomson Hall. Many big buzz films are also at the Visa Screening Room (Elgin Theatre). In the past, the above venues were the only ones which hosted "premium" screenings. This year, for the first time, some first showings will be designated as "premium" at other theatres as well. These include Winter Garden, Isabel Bader, and Ryerson. The new TIFF Bell Lightbox will also host premium screenings but neither I (nor anyone else, really) can post any tips since this venue hasn't even opened yet. That will happen on Sunday, September 12.
12) Roy Thomson Hall is used exclusively for films in the Galas section. It's the largest venue at the festival with 2630 seats. Located to the south at King and Simcoe Streets, security is extremely tight here with the presence of VIPs. There are separate entrances for certain festival donors and honored guests. You'll likely pass through several security checkpoints before being directed to whatever line you need to wait in. Lines snake around ropes on the sidewalk and can be quite long. An hour wait is certainly a good bet given the popularity of these films.
13) The Visa Screening Room (Elgin) and Winter Garden Theatre sit double-decker in a building above Queen on Yonge Street. Organizers try to keep patrons standing in single file heading north on Yonge, around the corner to the east and back down south behind the theatre. The 1500-seat Elgin is large enough to accommodate many more people than would appear to be waiting in line. It can be quite deceptive because a line which appears to be interminably long may not even fill half the theatre once you get inside. Still, I'd allow at least a half hour to an hour depending on the popularity of the film, time of day, and whether or not this is a premium or regular screening. Speaking of which -- at times in the past there have been separate lines for those with and without Visa cards. At one point the Visa line was supposed to ensure earlier admission for Gold and/or Platinum card holders but the one I had was "regular" and it didn't matter. Be sure to check and see if there's an advance line for cardholders at your screening. For some reason it seemed to rain the heaviest when waiting in line at this venue but I doubt that was intended.
14) Isabel Bader is an auditorium on the University of Toronto's Victoria Campus at 93 Charles Street West, which is just south of Bloor and east of University Ave. Capacity is 500. Lines wind outside down the sidewalk, which tends to get muddy after a rain. Both the sidewalk and street are quite narrow and it's easy to slip one way into the street or the other way into the grass/dirt/mud. Lines here aren't too long, in most cases, and a half hour should suffice.
15) Which brings us to...Ryerson. Located at 43 Gerrard Street East on the Ryerson University Campus, this auditorium holds 1250 and hosts many high-profile films. This year the festival has programmed a handful of premium screenings there and second screenings of Galas and other red carpet premieres that have debuted at Roy Thomson Hall and the Elgin. It is also the home of Midnight Madness.
Lines at Ryerson form outside the entrance and wind east down Gerrard, south around the corner down Church, and then west on Gould behind the building. Like the Elgin, this can be quite deceptive as it usually appears there are many more people waiting in line than the theatre can hold when, in reality, I've been almost completely around the block and still entered the auditorium to see it half full. The good news about waiting in line at Ryerson is that it's the one venue where patrons can actually sit. A low brick wall surrounds the building and is just perfect for reading, eating, or conversing with fellow line mates.
My first year at TIFF I actually spent more time at the Ryerson than any other venue, so I grew quite fond of it and it's certainly my favorite non-multiplex theatre. Being a Midnight Madness fan also gives this venue a feel that no other has. MM is the only section which the festival sells dedicated passes for outside the premium screenings, so patrons return every night (and every year) and forge relationships which last long after the festival is over. Even those who only attend a few MM screenings during the week will find a camaraderie among attendees which cannot be matched at any other venue for any other screenings. MM programmer Colin Geddes runs a festival-within-a-festival that hosts some of the best films I've ever seen at TIFF. Experience it and you'll understand.
As a rule of thumb I have always allowed the longest amount of waiting time for Ryerson screenings. An hour is usually a good bet although, as I mentioned earlier, the length of the line is so deceptive compared to the size of the hall that no matter how long the line or the wait it's usually not that hard to get a good seat once inside the cavernous auditorium. But again, this depends on the popularity of the film, time of day, and number of screenings the film may already have had.
16) Add it all up and I'd say that you should expect to wait in line up to an hour for many screenings if you want to be assured of a good seat. Otherwise a half hour should suffice. Anything less is chancy.
17) So taking all three basic considerations into account when deciding how much time is needed from the moment one film ends until your next screening begins:
Allow ten minutes to a half hour for any Q&A. Average is 15-20 minutes.
Allow ten minutes to a half hour for travel time. Average is 15-20 minutes.
Allow a half hour to an hour for waiting in line.
Bottom line: the amount of time to allow between the end of one film and start of another is a minimum of 50 minutes to an hour, maximum two hours. Average for me is closer to 75 minutes.
Keep in mind all the variables I've noted: distance between venues, time of day, number of screenings the film may already have had, popularity of the film, and size of the house, as well as your desire to get the seat(s) you want.
On the other hand, if you're like me and want to see as many films as possible regardless of health concerns, then join me in what I like to call "festival mode." Plan your films carefully. Allow 20 minutes after a film ends and a half hour waiting time before the next one. Then just add travel time to that. You'll get better at it as the week goes on, and share your own tips next year.
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Posted August 30, 2010 by
NOTE: Box office totals for The Twilight Saga: Eclipse from 6/30 - 7/15 are posted HERE. Numbers from 7/16 - 7/29 are posted HERE. Numbers from 7/30 - 8/19 are posted HERE. UPDATE THURSDAY, SEPTEMBER 2:
Here is a mid-week box office update. The Twilight Saga: Eclipse sits at #22 on the charts. At 476 locations, it took in another $59,749 on Monday for a per theater average of $125 and a decrease of 60% from Sunday, $60,019 on Tuesday for a per theater average of $126 and a 0.9% increase from Monday, and $53,347 on Wednesday for a per theater average of $112 and an 11.1% decrease from Tuesday. This adds up to a cumulative domestic total of $298,200,597 after 64 days in release. Adding in the latest verifiable overseas returns of $380.6M gives Eclipse a current worldwide total of $678,800,597.
Theater counts for the week of Friday, September 3 - Thursday, September 8 reflect a 16.8% decrease of 80 for The Twilight Saga: Eclipse to 396 locations, dropping it from #22 to #23.
For those comparing the films in The Twilight Saga, after 64 days New Moon had taken in $292,793,194. Eclipse is now at $298,200,597. Both films hit the $250M mark on the 16th day. The total domestic gross for New Moon was $296,623,634. Eclipse has now broken that total by $1,576,963. The film is now within striking distance of the elusive $300M mark. It needs about $1.8M to get to that number. It took New Moon 22 more days to earn an additional $1.9M after its 64th day, and Eclipse is clearly doing better. On the other hand, New Moon dropped to 444 theaters on its 64th day while Eclipse drops to 396 locations tomorrow. Still, even after New Moon's theater count had dropped to 352 (after 70 days) it still went on to take in another $3.24M. Therefore, it should take no more than about two weeks for Eclipse to earn another $1.8M and pass $300M.
Keeping track of records, the film with the least number of days to reach $250M was The Dark Knight, which hit $261,847,503 after eight days. New Moon is in 13th place, having taken 16 days to reach $251,530,186. Eclipse lands just behind it in 14th place, taking 16 days to reach $251,371,417. This puts the film ahead of Shrek the Third, Pirates of the Caribbean: At World's End, and Iron Man 2, which all took 17 days to hit $250M.
So far, The Twilight Saga: Eclipse has set all-time box office records for Opening Wednesdays, Single Day Wednesday Gross (non-adjusted), and Single Day Wednesday Gross (adjusted for inflation). It is in second place for Opening Day Gross, Single Day Gross, and Non-Opening Thursday Gross. Release records include Widest Releases, Widest Independent Releases, Widest Opening Independent Releases, Widest PG-13 Rated Openings, and Widest PG-13 Rated Releases.
There's been quite a bit of discussion online regarding the film's box office success. In particular, I wonder about the fairness of comparing the Twilight films against each other. Despite the fact that Eclipse is about to pass New Moon in domestic totals, the validity of judging one against the other is questionable given their strikingly different release schedules. As I've been saying since it opened, the idea was not to compete against or beat New Moon's early numbers. That may be a goal of some people but the idea is to make money, and maybe set some records in the process.
First, remember that the film's opening weekend started on a Wednesday. There is no way that a "weekend" that begins on a Wednesday can be compared to a "normal" 3-day weekend (when New Moon opened). So any comparison between the two based on how many "weekends" it's been out simply isn't valid. Next, look at the time of year the two films were released. New Moon came out during the Thanksgiving-Christmas holiday season. It's a big time of year for Hollywood but still doesn't compare to summer, when they put out their "tentpole" films -- the potential blockbusters that will keep the studios in the black for another year. The competition is much more fierce beginning Memorial Day weekend through the 4th of July. It's simply a different marketplace.
Is Summit happy with the film's box office returns? I don't know but I'm fairly sure they must be. Again, the goal was not to "beat New Moon." That may be something the press or some others will latch on to but it may not be a fair comparison. It was very easy to compare Twilight to New Moon since they opened at the same time one year apart. Not so much New Moon to Eclipse. I think it's wise to just see how the film does over time in its own right.
Now wouldn't be a bad time to start planning for your DVD release parties. The street dates for Twilight and New Moon were both on day 121 of their theatrical runs (Saturdays). Following that line of thinking, Eclipse's 121st day will be October 28th, a Thursday. The following Saturday would be October 30th -- Halloween weekend. On the other hand, sources have told me that Summit is planning for a holiday season release -- some say November while others say Christmas time.
UPDATE MONDAY, AUGUST 30:
ACTUALS ARE IN: The final domestic box office numbers for its ninth weekend show that The Twilight Saga: Eclipse finished in 22nd place with $514,653 from 476 locations for a per theater average of $1,081. This represents a decrease of 9.2% from the previous weekend of August 20-22. The cumulative domestic total is now $298,027,752 after 61 days in release. Adding in overseas returns of $380.6M (the last reported number) gives Eclipse a current worldwide total of $678,627,752.
The daily breakdown, with percent change from the previous day, includes Friday's $148,672 for a per theater average of $312 (+101.5%), Saturday's $217,338 for a per theater average of $457 (+46.2%), and Sunday's $148,643 for a per theater average of $312 (-31.6%). Overall, the 3-day weekend of August 27-29 was down 45.5% from the 3-day weekend of August 20-22.
UPDATE THURSDAY, AUGUST 26:
Box office numbers are in for Wednesday, August 25. The Twilight Saga: Eclipse took in another $71,270 from 557 locations for a per theater average of $128, representing a decrease of 5.5% from Tuesday. This adds up to a cumulative domestic total of $297,439,330 after 57 days in release. Adding in overseas returns of $380.6M gives Eclipse a current worldwide total of $678,039,330.
Theater counts for the week of Friday, August 27 - Thursday, September 2 reflect a decrease of 81 for The Twilight Saga: Eclipse to 476 locations, dropping it from #18 to #22.
UPDATE WEDNESDAY, AUGUST 25:
Here is a mid-week box office update. The Twilight Saga: Eclipse officially surpassed the domestic total of New Moon several days ago. The film took in another $75,817 on Monday from 557 locations for a per theater average of $136, representing a decrease of 53.5% from Sunday, and $75,445 on Tuesday from 557 locations, representing a 0.5% decrease from Monday. This adds up to a cumulative domestic total of $297,368,060 after 56 days in release. Adding in overseas returns of $380.6M gives Eclipse a current worldwide total of $677,968,060.
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Posted August 30, 2010 by
Third of a four-part seriesIn Real Tips For Real People #1, I offered some general advice for travelers headed to the 35th Toronto International Film Festival (TIFF), which runs from September 9-19. In Part 2 we went over some of the rules, etiquette, and secrets of what happens from the moment you enter the theater until you leave.
Now you're ready to move on to the next screening. Hopefully you've allowed enough time, and that's trickier than you may realize. There are three basic considerations when deciding how much time is needed from the moment one film ends until your next screening begins. The first I discussed last week -- the Q&A. Allow for anywhere from ten minutes to a half hour for that. Average is 15-20 minutes. The second consideration is travel time. I'll cover that in this entry.
Note that this isn't intended as a comprehensive guide to transportation for every logistical possibility -- TIFF utilizes sites scattered throughout the downtown area. Truthfully, a good map showing all the festival venues and knowledge of the city transit system (and garage locations for drivers) will suffice. But there are some generalizations which can be made regarding travel among the various venues, and this is solely based on my own experiences.
1) The post-screening excitement is over (assuming you stayed for the Q&A), you've hopefully met and chatted with the filmmakers and actors, and you've taken care of whatever urgent business you need to take care of before exiting the theater. Now it's time to get to your next screening. In the best case scenario, of course, you don't actually have to "go" anywhere. It is quite possible to stay in one location for an entire day of screenings. Heck, there are folks who do that for the whole festival. I've met many veterans who plan their week not around what films to see but around which venue to call home for the duration. For example, many choose the Varsity. This venue is part of the Manulife Centre, an elegant shopping mall on Bloor Street with plenty to see and do between screenings. However, the theatre lobby itself is almost nonexistent so lines typically wind down emergency staircases and outside the building, and the rush lines of folks hoping for last-minute tickets are outside as well (there's usually a single long rush line which is used for all screenings). But there is no need to leave the building from, if one desires, 9:00 in the morning to 11:00 at night on most days. The festival lineup is so dang good that it's almost guaranteed you're going to have a grand old time regardless of what you select. Other venues lend themselves to this too, particularly the AMC. Scotiabank used to be perfect for an all-day experience but press and industry screenings will now take up most of the morning and afternoon there (more on those below).
2) Besides the proscenium arch theatres and auditoriums we discussed in the previous post, the festival primarily utilizes three multiplex cinemas, each dedicating multiple screens to TIFF for the week: the aforementioned Cineplex Odeon Varsity Cinemas (2 screens), Scotiabank Theatre (dedicating 4 screens), and the AMC Yonge-Dundas 24 (8 screens), which opened two years ago. Most festivalgoers will spend the bulk of their time at these venues.
3) The AMC in Toronto Life Square, at the bustling intersection of Yonge and Dundas, is situated within an extremely large multi-level mall although lines are held outside the building and escorted up a multitude of escalators prior to the start of each film. Those attending successive screenings there face a dilemma. It's a bit frustrating to walk out of a theater knowing your next film starts in just a few minutes in the exact same house and have to leave the building and get in the back of a line winding around the block. Previously, some filmgoers found a place to chill in the food court (which has every imaginable gastronomic delight) and carefully observed the lines as they headed up the several flights of escalators. The festival has instituted various methods of combating this but I'll leave it at that. I certainly don't condone cutting in front of people who've been waiting outside on the street for an hour but I feel their pain. Each year has had a different arrangement so it's possible this procedure may change.
4) The Scotiabank Theatre at Richmond and John Streets has a lovely lobby with a food court and even a small café with hot drinks and tables. Due to its spacious interior, filmgoers with tickets never have to exit the building. This year, for the first week of the festival, public screenings here won't start until after 6:30-7:00 PM. Press and industry screenings will occupy this venue the rest of the day. On Friday, September 17, public screenings will start at 2:00 PM. For the final weekend of the festival, Saturday, September 18 and Sunday, September 19, public screenings will run from 9:00 AM to 11:00 PM as in previous years.
5) The layout of the festival's primary venues is fairly simple and convenient. The Scotiabank, the about-to-open TIFF Bell Lightbox (a five-story complex which now houses the main box office), and Roy Thomson Hall are all located near each other to the southwest. Several blocks east, the Visa Screening Room (which is actually the magnificent, historic Elgin Theatre) and the equally majestic Winter Garden -- double-decker theatres, the last in the world -- are in the same building on Yonge Street. Two blocks north is the AMC multiplex at Yonge and Dundas, with the Ryerson situated a couple of blocks up from there. So the Scotiabank, Bell Lightbox, Roy Thomson Hall, Visa Screening Room, Winter Garden, AMC, and Ryerson roughly form an L-shape which is walkable although one can reach the subway within a few blocks of each. So some plan their schedule around those venues. The only theatres which are situated further uptown and are best reached by subway are the Varsity and Isabel Bader Theatres, both located on or near Bloor Street to the north. Jackman Hall stands alone to the west but is also a short walk to the subway.
6) All venues are located within a few blocks of a subway stop on the downtown U-shaped route. Tokens cost $3.00 a ride for adults (the fares went up on January 1) or $2.50 each if bought in packs of 5 or 10. A weekly pass can also be purchased for $36.00 but, unfortunately, the "week" runs from Monday-Sunday so the festival straddles two "pass weeks." Not very convenient for most people, so I recommend purchasing the packs. Stations sell them at booths and and various other locations. Machines dispense single tokens and sets of 4 or 8. There are also Day Passes and other good deals. Seniors, students, and children pay discounted fares (see the TTC site).
7) There are also buses, streetcars (trolleys), and taxicabs, and for those with their own vehicles there are convenient garages and metered spots on streets, but I won't go into detail regarding those modes of transportation. I've tried all the above and recommend foot and rail, especially if you're on a budget and in a hurry. If you do have a car, in the past the festival has sold a ticket with in-and-out privileges for the garage at the Manulife Centre for $100. Because the subway is a block away I recommend parking there in the morning and leaving it for the day.
8) There are a lot great maps out there. TIFF's official map and the TTC transit map are pretty straightforward. This one clearly shows the subway stops on the system and where most of the theaters are located. The AMC is right at the Yonge and Dundas subway stop. What is labeled the Paramount is now the Scotiabank at Richmond and John, with TIFF Bell Lightbox just two blocks south at King and John. And Jackman Hall is at the Art Gallery of Ontario (AGO) on Dundas three blocks west of the St. Patrick station. The author has posted an updated map but I personally think the older one is easier to read. If you're a subway person like me you'll want to know some tricks. For example (it may be useful to look at one of the maps as you read this), the way I go from Scotiabank to AMC and Ryerson (or vice-versa) is to walk three blocks east on Richmond and one block up to Queen to the Osgoode station, then take the train south until it loops around and comes up to the Dundas station. AMC is literally on top of the Dundas station exit and Ryerson is a couple of blocks up from there. Alternatively, take the Queen Street streetcar from John to Yonge. The route is walkable if you have time but transit is especially welcome in heat or rain. You can use that same subway loop trick to get from Bell Lightbox and Roy Thomson Hall by walking east on King to the St. Andrews station and then heading south around the loop up Yonge. For Bader and Varsity, just head north from the St. Andrews or Osgoode station and get out at the Museum stop. Bader is a half block to the east and Varsity is two blocks in that direction.
9) A note about walking, especially for Americans. Toronto is north of the border but it's not the Arctic Circle. The weather in early September can be downright steamy. My first year I didn't bring a pair of shorts and lived to regret it. It can also be quite wet, as the city sits on the shore of Lake Ontario which provides a source of moisture to the occasional storms above. There's always a brisk business in umbrella sales.
10) Summing up, travel time can take anywhere from ten minutes (walking from Ryerson to AMC, for example) to a half hour (Scotiabank to Varsity at rush hour). Average is 15-20 minutes. The trains are rarely crowded but allow for extra travel time at rush hours. Again, this isn't meant to cover every possibility. These are just some of my personal recommendations based on several years of TIFF experience.
The third and final aspect to consider in booking your screenings is what happens when you arrive at your next venue. It's a time-honored tradition, and one which may prove quite valuable as the festival goes on -- waiting in line. I'll cover that in my next post.
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Posted August 27, 2010 by
The countdown to Fantastic Fest is on, with Opening Night just three weeks from Thursday. I'll be there and you can count on my usual blanket coverage, of course. I've described Fantastic Fest as more of a convention -- a Comic-Con, if you will -- as opposed to a conventional "film festival." There's always a wide range of interactive activities and discussions in addition to the screenings. But those movies will surely be the main attraction, especially for this journalist, who's made no secret of his love for genre films.This year's event runs from September 23-30 in rockin' Austin, Texas. This is also the location of the prestigious SXSW Film Festival, and readers of this blog know that my annual coverage of SXSW gushes with accolades for the venues there -- arguably the best in America -- the very same ones used for screenings at this festival.
The first wave of 13 films was unveiled last month, followed by the announcements of the Gala Opening Night Films, Let Me In and Buried.
The second wave of titles has now been revealed, adding 16 more films to the previously announced lineup (descriptions provided by the festival):
GALA
Stone (2010)
US Premiere, USA, director: John Curran
Director John Curran and Edward Norton live in attendance.
A seasoned corrections official and a volatile inmate find their lives dangerously intertwined in Stone, a thought-provoking drama directed by John Curran and written by Angus MacLachlan. Stone features powerful performances by Academy Award® winner Robert De Niro and Oscar® nominee Edward Norton, and a startlingly raw, breakout performance from Milla Jovovich as the sexy, casually amoral woman they both desire.
As parole officer Jack Mabry (De Niro) counts the days toward a quiet retirement, he is asked to review the case of Gerald “Stone” Creeson (Norton), in prison for covering up the murder of his grandparents with a fire. Now eligible for early release, Stone needs to convince Jack he has reformed, but his attempts to influence the older man’s decision have profound and unexpected consequences for them both. Stone skillfully weaves together the parallel journeys of two men grappling with dark impulses, as the line between lawman and lawbreaker becomes precariously thin. Golden Globe® winner Frances Conroy completes the superb ensemble as Madylyn, Jack’s devout, long-suffering spouse. Set against the quiet desperation of economically ravaged suburban Detroit and the stifling brutality of a maximum security prison, this tale of passion, betrayal and corruption examines the fractured lives of two volatile men breaking from their troubled pasts to face uncertain futures.
FEATURED SCREENINGS
30 Days of Night: Dark Days (2010)
World Premiere, USA, director: Ben Ketai
Director Ben Ketai, Kiele Sanchez & Steve Niles (co-writer, author) in attendance (schedules permitting).
It’s been almost a year since the Alaskan town of Barrow’s population was decimated by vampires during its annual month-long sunset. Riddled with grief over the death of her husband, bound by nightmares and void of all emotions beyond hate and sorrow, Stella (Sanchez) has spent the past months traveling the world, trying to convince others that vampires exist. Met with skepticism and laughter, Stella is ready to throw in the towel when a group of lost souls (Coiro, Baird and Perrineau) offers an incredible opportunity: the chance to exact revenge upon Lilith (Kirshner), the vampire queen responsible for the assault on Stella’s sleepy Alaskan town. With nothing remaining to live for, and nothing left to fear, Stella joins their mission and ventures into the uncharted underbelly of Los Angeles where she pushes herself to the most extreme limits to stop the evil from striking again.
Carancho (2010)
Regional Premiere, Argentina, director: Pablo Trapero
Ambulance drivers and ambulance chasers, dirty police and corrupt doctors, fraudulent insurance brokers and some truly desperate people are the players in a wildly original and occasionally brutal thriller set on the streets of Buenos Aires.
Drones (2010)
Regional Premiere, USA, directors: Amber Bensen and Adam Busch
Directors Amber Bensen and Adam Busch as well as stars Angela Bettis and Kevin Ford will be in attendance.
When Brian discovers an improbable secret about his best friend and OmniLink coworker, everything in his world changes and his safe life of workplace detachment is no longer an option. Close encounters of the office kind, like sales or intergalactic war, is an uncertain business.
Fire of Conscience (2010)
US Premiere, Hong Kong, director: Dante Lam
A slick cops-and-robbers film that coats melodrama with a thick layer of blood and gunpowder. Dante Lam has emerged as one of the most exciting Hong Kong action directors with films like The Beast Stalker (2008) and Sniper (2009). His latest work delivers the goods with chases, fisticuffs, massive fire fights; exploding bodies and more.
Hatchet 2 (2010)
North American Premiere, USA, director: Adam Green
Director Adam Green, Kane Hodder and Danielle Harris live in person!
Witness the resurrection of bayou-dwelling psycho-killer Victor Crowley (Kane Hodder), who terrorized a party of witless New Orleans tourists in Adam Green’s 2006 cult hit Hatchet. After emerging as the sole survivor of Crowley’s comically over-the-top murder spree, Marybeth (Danielle Harris) learns the secrets of the madman’s origins and returns to the Louisiana swamps to avenge her family’s death. Also featuring genre fan fave Tony Todd as Reverend Zombie and Fright Night director Tom Holland as Bob.
The Housemaid (1960)
South Korea, director: Kim Ki-young
Celebrated as one of the greatest Korean films of all time, The Housemaid tells the story of a composer who invites chaos into his home when he begins an affair with the family’s mysterious new maid, a disturbed woman with a penchant for catching rats with her bare hands. The print featured at this year’s Fantastic Fest has been restored by the Korean Film Archive with the support of Martin Scorsese’s World Cinema Foundation, a nonprofit organization dedicated to the preservation of films from non-Western countries.
The Housemaid (2010)
Regional Premiere, Korea, director: Im Sang-soo
A reimagining of the Korean classic of the same name, the 2010 version of The Housemaid turns the tables on the story. This time around a perfectly normal servant enters the home of a truly dysfunctional wealthy family who beat her down with an array of psychological, sexual and sometimes physical trauma. With strong performances, lush design and an exceptional story, this update serves as a worthy companion to the original classic and makes for a truly unique double bill.
I Spit on Your Grave (2010)
Austin Premiere, USA, director: Steven R. Monroe
A remake of the controversial 1978 cult classic of the same title, Steven Monroe’s I Spit on Your Grave is a shock-fest that revisits the story of a young writer’s horrifying sexual assault at the hands of a backwoods gas-station attendant and his knuckle-dragging cronies while on sabbatical in the countryside. After being brutally attacked and left for dead, she returns for vengeance. Trapping her male attackers one-by-one, she inflicts acts of physical torment upon them with a ferocity that surpasses her own ordeal. When the carnage clears, victim has become victor.
Kidnapped (2010)
North American Premiere, Spain, director: Miguel Ángel Vivas
Jaime (Fernando Cayo) and Marta (Ana Wagener) are a middle-aged couple with a teenage daughter named Isa (Manuela Vellés). The family is in the process of moving into a big new house. Marta wants to gather the family for dinner at home to celebrate. Isa has her own plans; she wants to go out with her boyfriend. Jaime is stuck in the middle of it all. Everyone's evening is ruined when a gang of masked hoodlums pay a visit to the home.
Legend of the Fist (2010)
US Premiere, Hong Kong, director: Andrew Lau
Life in Japanese-occupied Shanghai in the 1920s was no picnic. Military warlords and criminal henchmen ruled the streets. The city’s one ray of hope was the young martial artist Chen Zhen (Donnie Yen), whose legendary showdown against a dojo full of Japanese warriors ended with his apparent death, though his body is never found. Seven years later, a wealthy entrepreneur called Koo returns from abroad and makes a grand entrance on the Shanghai social scene by befriending the city’s most notorious mafia boss. Could this be the return of Chen Zhen?
Ong Bak 3 (2010)
North American Premiere, Thailand, director: Tony Jaa
The legend of Ong Bak 3 begins after Tien (Tony Jaa) has lost his fighting skills and his beloved step-father from the raid led by Jom Rachan (Saranyu Wonggrajang). Tien is brought back to life with the help from the Kana Khone villagers. Deep into the meditation taught by Phra Bua (Nirutti Sirijanya), Tien finally is able to achieve 'Nathayut'. His talents are put to the test again when his rivals including the Golden-Armored King's Guard (Supakorn 'Tok' Kijusuwan), the mysterious killers in black, and Bhuti Sangkha (Dan Chupong) return for the final massive showdown.
Redline (2010)
North American Premiere, Japan, director: Takeshi Koike
Rev your engines, adrenaline junkies! Redline is a new feature from famed Madhouse Studios that reunites animator Takeshi Koike (Ninja Scroll, Animatrix) with his long-time collaborator Katushito Ishii, the genius behind Funky Forest: The First Contact. This meeting of warped minds results in a mind-melting psychedelic assault that is easily the wildest animated Japanese film to surface in years.
Stake Land (2010)
US Premiere, USA, director: Jim Mickle
Director Jim Mickle, Connor Paolo, Nick Damici and Danielle Harris live in person!
Following a political-economic meltdown of unexplained origins, the world has been overrun by humanoid creatures who feed off human blood. A disparate group of survivors band together to weave their way through the communities of both vampires and equally dangerous religious cultists in search of an alleged sanctuary in the north. The cast includes Nick Damici, Connor Paolo, Kelly McGillis, Danielle Harris and Michael Cerveris.
Undocumented (2010)
World Premiere, USA, director: Chris Peckover
Director Chris Peckover and cast members live in person!
A small group of documentary filmmakers chronicle the trials and inequities faced by Mexican illegal immigrants. When they join a group of families illegally crossing the border to record the experience firsthand, their truck is pulled over and detained. What happens next plunges their group into unimaginable horror.
We Are What We Are (Somos Lo Que Hay) (2010)
US Premiere, Mexico, director: Jorge Michel Grau
When the patriarch of the family passes away, the teenage children must take responsibility for the family chores: the preparation of the rituals, the hunting and putting the all-important meat on the table. These newfound responsibilities are even more daunting, however, when you live in the city and happen to be a family of cannibals.
Everything you need to know about Fantastic Fest 2010 is available at the festival's official site, Facebook, and Twitter.
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Posted August 26, 2010 by
Second of a four-part seriesYesterday, in Real Tips For Real People #1, I offered some general advice for travelers headed to the 35th Toronto International Film Festival (TIFF), which runs from September 9-19.
Now it's time to go to the movies. After all, that's why you're going (I hope). Let's walk through some tips in chronological order, beginning with the moment you enter the theater and sit down.
1) Once you've located your favorite seat (after awhile you will have one in every venue), the first thing to do is look for the nearest exit. No, not that you'll want to get up and walk out during the film (something I'm proud to say I've never done, by the way, although I have fallen asleep). This is for any emergencies which may occur, including those involving bodily functions. I won't go into that. Speaking of which...
2) The smartest thing to do is visit the washroom (that's what they call it -- you'll get funny looks if you use any other term) about ten minutes before the start of the film. Hopefully you won't need to use it again, unless you've taken in copious amounts of liquids which is, of course, a no-no for the festivalgoer. Coffee is particularly insidious although, if you time it right, a nice big cup in the morning from Tim Horton's and just enough time before your first film to..ahem...flush it out should suffice. You'll primarily find clean, well-stocked, and well-maintained facilities at all the venues. Experienced festivalgoers also use this time as an opportunity to share feedback on movies you've seen.
3) Most films start on time. TIFF is particularly good about this as screenings are usually booked one after another in the same venue, especially at the multiplexes. Staffers use a terrific wireless audio system which really helps things go like clockwork. All festivals have volunteers, but the ones at TIFF are a breed apart. Many are area film students. Most return year after year and work very hard for little (read: no) pay, so it's de rigeur to take some time and acknowledge their presence.
4) "On time" doesn't mean the lights go down. Almost all screenings are preceded by an introduction. This is usually done by a festival programmer, in most cases the person representing the particular section the film is in (Vanguard, Midnight Madness, etc.) and often the one who actually chose the film you're about to see. This increases their level of excitement in introducing it and enhances the overall experience for everyone. Occasionally the filmmaker(s) and/or cast members come up prior to the screening. But their remarks are usually brief. Most directors say something along the lines of, "let's just watch the film and let it speak for itself."
5) The festival rep will run through a series of announcements, including thanking the major sponsors. You'll probably have this memorized after a few screenings and be able to recite them along with the staffer. You'll hear all about the imminent opening of Bell Lightbox, which finally opens on September 12 after several years of construction (without Bell there might not be a festival, so hats off to them). At this point, if you haven't already done so, it's time to turn off your cellphones, pagers, beepers, anything that makes noise, buzzes, has a light...I think I'm reciting the announcement. It's always fresh in my mind.
6) Once the lights go down you'll see a series of trailers. The primary one lists the various festival sponsors. It's usually well done with snazzy graphics and cool music. It has to be because you might see it 30 times. Believe it or not, most years I've attended, even after a week it still looks and sounds good. Kudos to the festival for always making sure of this. You'll be tapping along before you know it. You'll be reminded to vote for the audience award and to thank the festival volunteers. It's customary to applaud at this point. That's always a lot of fun, especially if you're the one who starts it.
7) By the way, there is a possibility that either during the intro or during the trailers there will be a note about anti-piracy measures being taken. You may then hear a loud "ahhhhrrrrr" emerge from the crowd. It is customary to join the cacophony. Just like the applause for volunteers, if nobody else starts it then you be the one.
8) Once the film begins the standard rules apply as for any movie. Watch it. Don't talk. One thing you'll notice is that, in most cases, festival audiences are extremely respectful of these rules and you'll be spoiled in no time at all. The next time you go to your local multiplex you'll wish you were back at a festival screening. There is nothing to compare to a festival audience when it comes to respect for the filmmakers.
9) The film ends. Here is where things become dicey. To leave during the credits or not to leave? Well, keep in mind that there will, in many cases, be a Q&A. Still, many can't resist the urge to get up and head out as soon as the names start to roll. So this is more of a personal thing. I always sit through the credits. Always. If only out of respect for those who made the film I feel it's de rigueur. Keep in mind that someone mentioned on screen might actually be in the next seat. Literally. I've had it happen many times at festival screenings. Nowhere else can this occur, so why not take advantage of that and show your appreciation? Of course, if you've scheduled your next film too close in time to and/or far away in distance from the current one then you may have no choice. But I'll get to that.
10) Many screenings have a Q&A after the lights go up. This generally applies to what the festival calls "regular" screenings, not Galas at Roy Thomson Hall (although the cast and filmmakers will address the audience beforehand) or the first showings of films at the Visa Screening Room (premium tickets). The audience will usually be informed of this before the film begins. Also, the likelihood of a Q&A decreases with successive showings of films later in the week depending on whether or not the folks connected with the film are still in town. l could write a thousand words on Q&As. In fact, I have. It's one of the main reasons to attend film festivals, I believe. Nowhere else do you have the opportunity to question the filmmakers, cast, and crew about the film you just saw. How anyone can get up and leave is beyond me, but you'll notice about half the audience doing so in most cases. Do not be alarmed. They aren't necessarily making any kind of statement about the film but I won't make excuses for them.
11) Usually the same person who introduced the screening will call up whoever is present to represent the film. In most cases these are the director and cast members but I've attended Q&As where 30 people got up in front of the audience including the assistant assistant to the assistant editor. Sometimes these are the people who worked the hardest to get the film to the festival on time so I believe they deserve all the respect that can be afforded. Or the cast and crew might have left town and only a producer stayed. In any case, the Q&As are more than anything, to me, what distinguishes a festival screening from one at your local theater and help make the experience a memorable one.
12) A Q&A doesn't work without the Q. I'm constantly amazed at how quiet it can be when the floor is opened up to questions. Be ready and don't be intimidated. That's what they're there for. In most cases it is considered impolite to ask more than one, but I've attended many Q&As where audience members simply had nothing to ask. In these cases it is acceptable to raise your hand again. The session will go on as long as people have questions to ask, and/or until cut off by a festival staffer in order to clear the house for the next film.
13) Depending on how long the session goes and/or if another screening is coming in, there may be an opportunity to meet the filmmakers and actors. This happens more often than most people think and you don't have to be a VIP. There are two types of venues, though -- ones with raised stages (Ryerson, Visa Screening Room at the Elgin, Winter Garden, Roy Thomson Hall, Isabel Bader) and ones where the Q&A is held in a pit, like the "real" movie theaters used at the festival (AMC, Varsity, Scotiabank). You're less likely to be able to walk up to an actor at a venue with a stage and more likely to be able to walk up to an actor at a festival screening held in an actual movie theater, so plan your screenings accordingly.
14) At times the filmmakers and cast members are moved out to the lobby or on the street and greet the public there. They often will take pictures, sign autographs, etc. You don't have to be a member of the press to rub elbows with the stars. But be respectful of what the festival staffers and film's reps desire. Most theaters don't have much room to maneuver in the lobby or outside and what little space there is will often be taken up by lines waiting to get into the next screenings. If personnel are trying to move everyone quickly to another location it's best not to turn into a stalker. But in most cases it's the actors and filmmakers who decide whether or not they want to stick around regardless of what their "handlers" want them to do. This is a good thing.
In my next entry I'll pick up where we left off and discuss what to do from the time one screening ends until the next one begins. Assuming, of course, you went there to see more than one film.
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Posted August 25, 2010 by
Fantastic Fest 2010 kicks off just four weeks from tomorrow in rockin' Austin, Texas. Unlike this town's other great film festival, March's SXSW, Fantastic Fest is more like a Comic-Con for genre fans. There's always a wide range of interactive activities and discussions in addition to the screenings. But this lover of twisted and macabre cinema is headed there from September 23-30 primarily for the stellar lineup of shocking movies.The First Wave of titles was revealed on July 21 and the gala Opening Night film Let Me In was announced on August 17.
Today the festival added Rodrigo Cortés' Buried to its gala Opening Night celebration on September 23. The historic Paramount Theatre will host this psychological thriller starring Ryan Reynolds as a loving father and husband who finds himself six feet under, alive, with nothing but a cellphone and lighter. This classic Hitchcockian tale of an ordinary man in extraordinary circumstances promises to draw audiences into fitting together the pieces of his life-threatening puzzle.
"Buried is the most unique and compelling thriller I have seen in years," said co-founder Tim League. "The festival is honored to screen what we feel is going to be the 'buzz' film of the season."
In addition, the weekend prior to the festival will include an opportunity for four "lucky" contest winners to see Buried in a location mimicking the film's title (i.e., buried). Details on the "Buried with Buried: Rolling Roadshow of One" event can be found on the Fantastic Fest Facebook. This screening is part of the Alamo Drafthouse's "Rolling Roadshow" series that pairs films with subject-appropriate locations.
"The Rolling Roadshow is all about finding that unique film viewing experience with the perfect combination of movie and setting," Fantastic Fest co-founder Tim League said. "It’s traditionally been a communal experience of seeing a film outdoors with hundreds of people. But for this event, we’re putting an even cooler twist on the concept, because some movies are perfect for seeing while buried."
You'll find me well above ground reporting live from the festival beginning September 23. Cortés and Reynolds will both be in attendance at the Opening Night Gala. Lionsgate is releasing the film in select theaters the following day, September 24, with a wide expansion on October 8th. See the Buried official site for more about the film.
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Posted August 25, 2010 by
First of a four-part seriesThe 2010 Toronto International Film Festival runs from September 9-19. I've attended 47 film festivals since the start of 2006, but none as prestigious or breathtaking in scope as this one. I saw over 105 movies there from 2006-2009, and many of my Top Picks from all festivals over the past few years (out of over 500 films) came out of TIFF.
In my book, it's the top festival in the Western Hemisphere, second in the world only to Cannes. TIFF is ranked #3 among the Top 50 Film Festivals by the editors of indieWIRE. Many movies have their World or North American premieres there. Almost every major Academy Award-winning film of the past few years debuted in Toronto.
I'm mainly there for the movies, of course, and always try to see as many as possible. Of course, there is a basic conflict between attending screenings and being a working journalist. In previous years, seeing films would not necessarily lend itself to posting reports online (unless you bring a large staff -- it's just me, yo). I had precious little time to blog the way I would normally like to do. Fortunately, Twitter has changed all that. Beginning with the 2009 Toronto International Film Festival last September, I began live tweeting. Not only is it more immediate, obviously, than writing articles at the end of the day, but it also allows the reader to feel as though they're right there beside me. At least that's what many have said, so it's become my reporting medium of choice. But I still do try to find the time to take pictures and video, conduct interviews, and write reviews for the films I attend, as time permits. I'll be doing the same at TIFF 2010 on my Twitter and this blog.
Many articles show up at this time of year about "how to do the festival." Some are very good. Many simply appear to be marketing tools. Best gyms? Are you serious?!? If you have time to work out you don't belong there. So, as I did last year, I'll attempt to offer some real tips for real people, the festivalgoers who want to pack as many films into their days in Toronto as possible and not end up in the hospital.
That said, all film festivals are identical. But all film festivals are different. Conflicted, you say? Well, no, not really. The general experience is the same -- you just have to fill in the blanks. You arrive, get to the hotel, and plan your first day. You find the optimum route to the festival location, the best place to park (if you have a car), and the best way to get around from venue to venue.
You attend your first film, and learn the modus operandi for waiting in line, entering the theater, and finding the best seat to view both the Q&A as well as the film equally well (not always as easy as it sounds). This may vary from venue to venue, so with each successive film at each "new" venue the process is repeated.
Eventually you will, hopefully, get to know the staffers so well that they greet you by name when you arrive. Maybe they even have your seat saved. Maybe a warm scone. Well, that's never happened to me, but one can hope. This is assuming the same people work the same venue each day, which is usually the case. That's one of the best things about festivals. Of course, perhaps even more important, you need to know where to go for sustenance -- coffee, food (well, energy bars, usually), and other (ahem) personal needs. It only takes about a day or so to have your routine down to a science. Then you just sit back, relax, and enjoy the ride.
The Toronto International Film Festival is no exception. As the festival has grown so has interest in it from the media, and the world's press descends on this metropolitan city on the shore of Lake Ontario every September to write as many words and take as many pictures as they are physically able. That group includes me and, as I did last year, I'll continue posting a series of tips over the next few days in chronological order, beginning with the moment you enter the theater and sit down.
The complete schedule is now available at the TIFF Box Office, at select BLOCKBUSTER® stores across Canada, and by visiting tiff.net/thefestival. The Thursday, August 26th edition of Toronto’s EYE Weekly contains the schedule and a special issue of the Toronto Star includes a 24-page section on the festival along with the full film schedule.
My favorite sites for film information, trailers, links, helpful search parameters, scheduling tools, and more are TOFilmfest.ca and TIFFReviews.com. I couldn't put my calendar together without them. For those of you looking for free WiFi hotspots there's a terrific (newly updated) map at freewifiintoronto.blogspot.com.
Ticket packages are now available for purchase by cash, debit, or Visa online at tiff.net/thefestival, by phone at 416-968-FILM or 1-877-968-FILM (Monday through Friday 10 AM to 7 PM), or in person at the brand new Festival Box Office located at 363 King Street West at Peter St.
Coming up in Real Tips For Real People #2...time to go to the movies.
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Posted August 24, 2010 by
The countdown to the 2010 Toronto International Film Festival continues, with Opening Night just two weeks from Thursday. You can count on my coverage, of course -- this will be my fifth year attending TIFF. I saw over 105 films there from 2006-2009, and many of my Top Picks from all festivals over the past few years (out of over 500 films) came from the Toronto lineup.This year's event runs from September 9-19. I'm still working out my screening schedule but the task is made just a bit easier due to the fact that Midnight Madness films run, well, at midnight every night. No scheduling conflicts there.
Readers of this blog know of my love for genre films, and films in the Midnight Madness section have been among my Top Picks from the last several festivals in Toronto including The Abandoned, All the Boys Love Mandy Lane, Severance, Diary of the Dead, Acolytes, Deadgirl, Daybreakers, Jennifer's Body, Survival of the Dead, and The Loved Ones.
It's been almost a year since I found myself on the sidewalk outside the Ryerson Theatre on Opening Night of Midnight Madness at the 2009 Toronto International Film Festival. It was the World Premiere of Jennifer's Body and, although I couldn't upstage Megan Fox, the guys from thesubstream.com did take the time to interview me. They'll be back this year, as will I, and hope you are too!
This year's complete lineup and schedule. All screenings are held at the Ryerson Theatre:
Opening Night Film
Thursday, September 9
Fubar II -- Michael Dowse, Canada
World Premiere
In the sequel to the 2002 cult comedy Fubar, hoser headbangers Terry and Dean are back and hit the road to find wealth, happiness and more beer in the oil fields of Alberta. Special appearance by Tron.
Friday, September 10
SUPER -- James Gunn, USA
World Premiere
After his wife (Liv Tyler) leaves him for a drug dealer (Kevin Bacon), a frustrated husband (Rainn Wilson) decides he will win her back as Crimson Bolt, a costumed vigilante armed with a monkey wrench. His actions bring him an admirer, an overeager comic store clerk (Ellen Page) who wants to be his sidekick.
Saturday, September 11
Bunraku -- Guy Moshe, USA
In a world with no guns, a mysterious drifter (Josh Hartnett), a young samurai and a bartender (Woody Harrelson) plot revenge against a ruthless leader (Ron Perlman) and his army of thugs, headed by nine diverse and deadly assassins. This visually stunning film is filled with uniquely choreographed action sequences of a new style that melds east with west and old school with new. The film also stars Demi Moore.
Sunday September 12
Vanishing on 7th Street -- Brad Anderson, USA
World Premiere
When a massive power blackout causes the population to inexplicably vanish, a small handful of survivors (Hayden Christensen, Thandie Newton, John Leguizamo) band together inside a desolate tavern, struggling to survive as the darkness hones in on them. From director Brad Anderson (The Machinist, Transsiberian) comes an apocalyptic thriller with a terrifying vision of our world's end and a story that wrestles with the nature of existence itself.
Monday September 13
The Ward -- John Carpenter, USA
World Premiere
Acclaimed director John Carpenter (Halloween, The Thing) makes his long-awaited return to the screen with a thriller about a young woman (Amber Heard) in a 1960s mental institution who becomes terrorized by malevolent unseen forces.
Tuesday, September 14
Insidious -- James Wan, USA
World Premiere
When proud parents take possession of an old house, an accident results in one of their sons falling into a coma. The tragedy doesn't stop there when they are beset by vengeful spirits from another realm in this new chiller by the director and writer of Saw and by the producers of Paranormal Activity. The film stars Rose Byrne, Barbara Hershey and Patrick Wilson.
Wednesday, September 15
Red Nights -- Julien Carbon, Laurent Courtiaud, Hong Kong/China/France
World Premiere
This shocking debut by director duo Carbon and Courtiaud is a seductive cat-and-mouse thriller set in Hong Kong, about a woman's obsessive desire to own a rare object that hides a deadly and perverse secret.
Thursday, September 16
The Butcher, The Chef and the Swordsman -- Wuershan, Hong Kong/China/USA
World Premiere
A group of misfits become mixed up in the struggle to own a deadly kitchen cleaver made from the top five swords of the martial arts world in this wild and brash action comedy that is sure to have audiences running to Chinatown after the film for a late night snack.
Friday, September 17
Stake Land -- Jim Mickle, USA
World Premiere
In the aftermath of a vampire epidemic, a teen is taken in by a grizzled vampire hunter on a road trip through a post-apocalyptic America, battling both the bloodsuckers and a fundamentalist militia that interprets the plague as the Lord’s work.
Saturday, September 18
Fire of Conscience -- Dante Lam, Hong Kong/China
North American Premiere
Dante Lam proves himself to be a talent to look out for in this slam bang action film where robbers and gunrunners battle with cops on the busy urban streets of Hong Kong. Starring Leon Lai, Fire of Conscience is easily one of loudest action films from Hong Kong in recent memory, with an orchestra of exploding grenades and machine gun rounds.
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Posted August 24, 2010 by
The 35th Toronto International Film Festival has now released its complete lineup of films along with the schedule of screening dates, times, and venues for all titles. The list of expected guests has also been unveiled. This year's event runs from September 9-19 and is considered by many to be the premiere film festival in the Western Hemisphere, second in the world only to Cannes. Almost every major Academy Award-winning movie of the past few years debuted at TIFF.I've attended 47 film festivals since the start of 2006, but none as prestigious or breathtaking in scope as this one. I saw over 105 films there from 2006-2009, and many of my Top Picks from all festivals over the past few years (of over 500 in total) came from the TIFF lineup.
Earlier announcements included Score: A Hockey Musical, the Official Opening Night Film, over 50 Galas and Special Presentations, 25 documentaries along with the Wavelengths program, and 24 films from host country Canada, and last week's press conference announcing titles in the Midnight Madness, City to City, and the Sprockets Family Zone sections, along with two more Galas (including the Official Closing Night film) and 18 Special Presentations.
Today's final film announcements include 21 titles in the Visions and Vanguard Programs, 27 films in the Discovery section, 7 programs in the Mavericks lineup, 10 additional titles in the Masters section, and 45 films in the Contemporary World Cinema section. In addition, the complete list of expected guests has been revealed.
Not that I wasn't incredibly excited about the festival before...but today's final announcements have really set my heart racing as I prepare to head to Toronto just two weeks from tomorrow. I'll be posting my 2010 edition of the "Real Tips for Real People" TIFF survival guide series along with previews of some of my "Best Bets" in the days to come. Then I'll be there covering as many films and Q&As as I can fit into my schedule. And, as usual, you can expect photos and video of the post-screening discussions, interviews, and reviews of my Top Picks during and after the festival. I'll be Tweeting live again and posting reports on this blog whenever possible.
The complete schedule is below. It is now available at the TIFF Box Office, at select BLOCKBUSTER® stores across Canada, and by visiting tiff.net/thefestival. On Thursday Toronto’s EYE Weekly will contain the schedule and a special issue of the Toronto Star will include a 24-page section on the festival along with the full film schedule.
Ticket packages are now available for purchase by cash, debit, or Visa online at tiff.net/thefestival, by phone at 416-968-FILM or 1-877-968-FILM (Monday through Friday 10 AM to 7 PM), or in person at the brand new Festival Box Office located at 363 King Street West at Peter St.
Here are today's final film announcements:
21 titles in the Visions and Vanguard Programs
27 titles in the Discovery section
7 programs in the Mavericks lineup
10 additional titles in the Masters section
45 titles in the Contemporary World Cinema section
Now available online:
COMPLETE LIST OF FILMS
SCHEDULE OF SCREENING DATES & TIMES
The following filmmakers are expected to attend:
Aamir Bashir, Aaron Phelan, Abe Sylvia, Achero Mañas, Adam Wingard, Alejandro González Iñárritu, Álex de la Iglesia, Alex Gibney, Amos Gitai, Andrew Lau, Andrucha Waddington, Andy De Emmony, Anna Boden, Anne Emond, Antoine Bourges, Anurag Kashyap, Apichatpong Weerasethakul, Atom Egoyan, Avi Nesher, Barr Gilmore, Barry Blaustein, Belmin Soylemez, Ben Affleck, Ben C. Lucas, Ben Stassen, Benoit Jacquot, Boo Junfeng, Brad Anderson, Brandon Cronenberg, Brian D. Johnson, Bruce LaBruce, Bruce McDonald, Callum Cooper, Cam Woykin, Carl Bessai, Carla Susanto, Caroline Monnet, Catherine Breillat, Catherine Martin, Charles Ferguson, Charlotte Sachs Bostrup, Chris Chong Chan Fui & Yasuhiro Morinaga, Chris Kraus, Christophe Nick, Thomas Bornot, Clint Eastwood, Dan Popa, Dan Rush, Daniel Cockburn, Daniel Espinosa, Daniel Hendler, Danis Goulet, Danny Boyle, Darragh McDonald, Darren Aronofsky, David M. Rosenthal, David Schwimmer, Davis Guggenheim, Deborah Chow, Delfina Castagnino, Denis Côté, Denis Villeneuve, Derek Cianfrance, Djo Tunda Wa Munga, Dominic Angerame, Douglas Gordon, Dustin Lance Black, Ed Gass-Donnelly, Emilio Estevez, Emmanuel Shirinian & Russell Bennett, Emre Sahin, Eran Riklis, Eric Lartigau, Eriko Sonoda, Errol Morris, Ezra Holland, Federico Veiroj, Fernando Trueba, Javier Mariscal, Tono Errando, Firas Momani, François Ozon, Frederick Wiseman, Gabriel Range, Gareth Edwards, George Hickenlooper, Gilles Paquet Brenner, Greg Atkins, Guillaume Canet, Guillem Morales, Guy Maddin, Guy Moshe, Hans Olson, Helga Fanderl, Ian Sharp, Iciar Bollain, Im Sang-Soo, Ingrid Veninger, Isaac Cravit, Isabelle Stever, J. Clay Tweel, Jacob Tierney, James Andean & Francois Xavier Saint-Pierre, James Benning, James Gunn, James Wan, Janus Metz, Jeff Barnaby, Jem Cohen, Jerome Sable, Jim Mickle, Joe LoBianco, Jody Shapiro, John Bolton, John Cameron Mitchell, John Carpenter, John Curran, John Gray, John Madden, John Price, John Sayles, John Turturro, Jonathan Nossiter, Jonathan Sobol, José Luis Guerin, Juanita Wilson, Julian Schnabel, Julien Carbon, Julio Hernández Cordón, Justin Chadwick, Justin Lerner, Katrin Bowen, Kaveh Nabatian, Kazik Radwanski, Kelly Reichardt, Ken Loach, Kevan Funk, Kevin Jerome Everson, Khalo Matabane, Kim Longinotto, Kiran Rao, Kire Paputts, Koen Mortier, Ky Nam Le Duc, Larysa Kondracki, Laura Israel, Leon Ford, Linda Hoaglund, Liz Van Allen Cairns, Laurent Courtiaud, Louis Bélanger, Louise Alston, Lucien Castaing-Taylor, Lynn Hershman Leeson, Madison Brookshire, Mahamat-Saleh Haroun, Malcolm Venville, Manuel Martin Cuenca, Marie-Josee Saint-Pierre, Marion Hänsel, Mark Hartley, Mark Romanek, Martin Sokol, Matt Reeves, Max Winkler, Michael Dowse, Michael McGowan, Michael Nyman, Michael Rowe, Michael Snow, Michael Vass, Michelangelo Frammartino, Mike Goldbach, Mike Leigh, Mike Mills, Milcho Manchevski, Mitch Glazer, Nadia Litz, Nathaniel Dorsky, Nick Fox Gieg, Nicolás Pereda, Nigel Cole, Oliver Husain, Oliver Schmitz, Ondi Timoner, Özlem Sulak, Pablo Trapero, Pasquale Scimeca, Patricio Guzmán, Pelin Esmer, Perry Bard, Philip Seymour Hoffman, Pierre Thoretton, Rachid Bouchareb, Rebecca Meyers, Reha Erdem, Richard Ayoade, Richard Bowen, Richard J. Lewis, Risteard Ó Domhnaill, Robert Redford, Rodrigo Cortés, Romain Gavras, Rowan Joffe, Ryan Fleck, Ryan Redford, Sara St. Onge, Sarah Bouyain, Sarah McCarthy, Saverio Constanzo, Seren Yüce, Sergei Loznitsa, Shawn Ku, Sion Sono, Sophie Fiennes, Sophie Goyette, Stefano Incerti, Stefano Pasetto, Stephen Frears, Steve Nash, Steven Silver, Sturla Gunnarsson, Susanne Bier, Tao Gu, Tayfun Pirselimoğlu, Terry Miles, Theodore Ushev, Theron Patterson, Thom Andersen, Thom Zimny, Tom Hooper, Tom Tykwer, Tomonari Nishikawa, Tony Goldwyn, Trevor Anderson, Vincent Biron, Vincent Gallo, Vincent Grenier, Wang Bing, Werner Herzog, Will Gluck, William D. MacGillivray, Woody Allen, Wuershan, Xavier Dolan, Yoel Meranda.
The following guests are also expected to attend:
Aamir Khan, Aaron Eckhart, Aaron Poole, Abigail Breslin, Adelaide Clemens, Adrienne Ciuffo, AJ Bowen, Alessandro Nivola, Alex Russell, Alexander Gammal, Alexandra Chowaniec, Allie MacDonald, Amanda Plummer, Amber Heard, Amy Grey, Amy Madigan, Amy Ryan, Anamaria Marinca, Andrea Riseborough, Anna Hopkins, Anna Mae Routledge, Andy Sparacino, April Telek, Aqib Khan, Ari Cohen, Audrey Mars, Barry Pepper, Belén Rueda, Bill Gates, Bill Murray, Bill Pullman, Bjorn Lomborg, Blake Lively, Bob Hoskins, Bruce Greenwood, Bruce Springsteen, Carey Lovelace, Carey Mulligan, Carla Sacks, Carrie Ng, Catherine Deneuve, Catherine Keener, char davies, Charlotte Rampling, Christopher C.J. Wallace, Christopher Plummer, Cindy Nelson, Clive Owen, Colin Firth, Connor Paolo, Craig Roberts, Cyril Dugovic, Danielle Harris, Daphne Rubin-Vega, Dave Lawrence, David Suzuki, David Timoner, Dominic Cooper, Doro Bachrach, Dwight Yoakam, Edward Norton, Ellen Page, Emily Hampshire, Emma Roberts, Emma Stone, Emmanuel Bilodeau, Erwin Strauss, Evan Sneider, Fisher Stevens, Francesca Gasteen, Freida Pinto, Garrett Dillahunt, Gemma Arterton, Geoffrey Canada, Geoffrey Rush, George Rush, Georgina Haig, Glenn Howerton, Guerilla Girls, Hallie Switzer, Harvey Keitel, Helen Mirren, Hilary Swank, Irène Jacob, Isabelle Blais, Jackson Rathbone, Jake Johnson, James Caan, James Franco, Jason Jones, Javier Bardem, Jay Baruchel, Jennifer Connelly, Jeon Do-yeon, Jeremy Renner, Jill Hennessy, Jim Broadbent, Joe Swanberg, John Brolin, John Ortiz, Jon Hamm, Jon Lovitz, Jonathan Baldock, John Legend, Josh Hartnett, Josh Lucas, Juan Diego Botto, Julian Richings, Julie Bilson Ahlberg, Juno Temple, Kailey Swanson, Kat Dennings, Kat Germain, Keanu Reeves, Keir Gilchrist, Kelly Preston, Kevin Spacey, Kodi Smit-McPhee, Kristin Scott Thomas, L.J. Benet, Lambert Wilson, Laura Dern, Lee Jung-jae, Lee Pace, Lesley Chilcott, Lesley Manville, Liana Liberato, Liv Tyler, Ludivine Sagnier, Macha Grenon, Malin Akerman, Maria Bello, Marion Cotillard, Martha Wilson, Martin Sheen, Martina Gusman, Mary Steenburgen, Matt Damon, Maya Hawke, Megan Fox, Melanie Laurent, Michael Angarano, Michael C. Hall, Michael Moore, Michael Pena, Michael Sheen, Mickey Rourke, Milla Jovovich, Minnie Driver, Miranda Richardson, Molly Parker, Morgan Davidoff, Nadia Litz, Natalie Portman, Nicole Kidman, Noah Reid, Oliver Ackland, Olivia Newton-John, Olivier Barthelemy, Om Puri, Paolo Costanzo, Patrick Labbé, Paul Giamatti, Paul J. Spence, Penn Badgley, Philomène Bilodeau, Pierre Bergé, Rachel Weisz, Rachelle Lefevre, Rainn Wilson, Ray Winstone, Rebecca Hall, Rebecca Hill, Reece Thompson, Rick Miller, Robert De Niro, Robert James, Roberta Cairney, Romain Duris, Ron Hynes, Ron Perlman, Ronnie Fridthjof, Rosamund Pike, Ross Clark, Ruth Charney, Ruth Sheen, Ryan Gosling, Ryan Kwanten, Ryan Phillippe, Ryan Reynolds, Sally Hawkins, Sam Rockwell, Sara Stockman, Sarah Kolasky, Sarah Peter, Sarah Silverman, Scott Speedman, Seán Cullen, Shannon Woodward, Stephen Eric McIntyre, Stephen Root, Temuera Morrison, Terra Hazelton, Thomas Haden Church, TJ Power, Tracy Lawrence, Uma Thurman, Valentina Berisa, Vera Farmiga, Vincent Cassel, Will Ferrell, William B. Davis, William H. Macy, Woody Harrelson, Xiao Min, Yasmin Paige, Zach Braff, Zach Galifianakis, Zak Santiago.
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The above list has been officially provided by the Toronto International Film Festival.
* "Expected to attend" generally means that the travel, accommodations, and other arrangements have already been made between the festival and talent. When a guest appears at a festival it is typically covered by the festival -- that's what the sponsor money is for -- and they are flown in and put up by the festival with their expenses paid. Once the festival announces a name it means the deal has been done and the flight, hotel, etc. are booked for that person. Names are always added and/or removed as individual situations and availabilities change, of course.
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Posted August 20, 2010 by
NOTE: Box office totals for The Twilight Saga: Eclipse from 6/30 - 7/15 are posted HERE. Numbers from 7/16 - 7/29 are posted HERE. UPDATE FRIDAY, AUGUST 20:
Box office numbers are in for Thursday, August 19 and The Twilight Saga: Eclipse has now officially surpassed the domestic total of New Moon. The film took in another $190,143 from 1,212 locations for a per theater average of $157 representing a decrease of 0.7% from Wednesday. This adds up to a cumulative domestic total of $296,649,934 after 51 days in release. Adding in overseas returns of $380.6M gives Eclipse a current worldwide total of $677,249,934.
UPDATE THURSDAY, AUGUST 19:
Box office numbers are in for Wednesday, August 18. The Twilight Saga: Eclipse took in another $191,448 from 1,212 locations for a per theater average of $158 representing a decrease of 9.3% from Tuesday. This gives the film a cumulative domestic total of $296,459,791 after 50 days in release. Adding in overseas returns of $380.6M gives Eclipse a current worldwide total of $677,059,791.
Theater counts for the week of Friday, August 20 - Thursday, August 26 reflect a decrease of 655 for The Twilight Saga: Eclipse to 557 locations, dropping it from #14 to #18. The top 10 theater counts this weekend are The Other Guys with 33,472 (loss of 179), The Expendables with 3,270 (no change), Vampires Suck opening at 3,233 locations, Eat Pray Love with 3,082 (no change), Scott Pilgrim vs. The World moving up from #9 to #5 with 2,820 (gain of 2), Nanny McPhee Returns opening at 2,783 locations, Piranha 3D opening at 2,470 locations, Inception with 2,401 (loss of 719), Despicable Me with 2,229 (loss of 694), andDinner for Schmucks with 2,149 (loss of 897).
UPDATE WEDNESDAY, AUGUST 18:
Box office numbers are in for Tuesday, August 17. The Twilight Saga: Eclipse took in another $211,187 from 1,212 locations for a per theater average of $174 representing a decrease of 1.6% from Monday. This gives the film a cumulative domestic total of $296,268,343 after 49 days in release. Adding in overseas returns of $380.6M gives Eclipse a current worldwide total of $676,868,343.
UPDATE TUESDAY, AUGUST 17:
Box office numbers are in for Monday, August 16. The Twilight Saga: Eclipse took in another $214,712 from 1,212 locations for a per theater average of $177 representing a decrease of 44.5% from Sunday. This gives the film a cumulative domestic total of $296,057,156 after 48 days in release. Adding in overseas returns of $380.6M gives Eclipse a current worldwide total of $676,657,156.
UPDATE MONDAY, AUGUST 16:
ACTUALS ARE IN: The final domestic box office numbers for its seventh weekend show that The Twilight Saga: Eclipse finished 14th with $1,279,650 from 1,212 locations for a per theater average of $1,056. This represents a decrease of 44.1% from the previous weekend of August 6-8. The film's domestic cumulative total is now $295,842,444 through its first 47 days of release. New foreign box office numbers give the film an additional $380.6M overseas for a current worldwide total of $676,442,444.
The top 10 films this weekend are The Expendables, opening at 3,270 locations with $34,825,135 for a per theater average of $10,650, Eat Pray Love, opening at 3,082 locations with $23,104,523 for a per theater average of $7,497, The Other Guys, which drops 51% and falls to third place in its second weekend with $17,408,501 at 3,651 locations for a per theater average of $4,768, Inception, which drops 39% and falls from second to fourth place in its fifth weekend with $11,285,051 at 3,120 locations for a per theater average of $3,617, giving the film a domestic cumulative total of $248,469,482 after 31 days in release, Scott Pilgrim vs. The World, opening at 2,818 locations with $10,609,795 for a per theater average of $3,765, Despicable Me with $6,971,355, Step Up 3-D with $6,905,201, Dinner for Schmucks with $6,285,179, Salt with $6,219,502, and Cats & Dogs: The Revenge of Kitty Galore with $4,190,426. Toy Story 3, Charlie St. Cloud, and The Kids Are All Right fill spots 11-13 ahead of Eclipse.
The daily breakdown, with percent change from the previous day, includes Friday's $399,428 for a per theater average of $330 (+16%), Saturday's $493,359 for a per theater average of $407 (+23.5%), and Sunday's $386,863 for a per theater average of $319 (-21.6%). Overall, the 3-day weekend of August 13-15 was down 44.1% from the 3-day weekend of August 6-8.
For those comparing the films in The Twilight Saga, in its seventh weekend New Moon came in at #11 with $3,442,263 from 1,627 theaters for an average of $2,116, representing an increase of 13.1% from weekend six. Eclipse is at #14 with $1,279,650 from 1,212 locations for an average of $1,056, representing a decrease of 44.1% from weekend six. In cumulative domestic totals over time, at this point in its release history (after 47 days) New Moon had taken in $288,548,185. Eclipse is now at $295,842,444. Both films hit the $250M mark on the 16th day. The total domestic gross for New Moon was $296,623,634. Eclipse only needs about $781K to break that. It should happen by Wednesday. That would put the film within striking distance of the elusive $300M mark, which it may pass by the end of next weekend.
Keeping track of records, the film with the least number of days to reach $250M was The Dark Knight, which hit $261,847,503 after eight days. New Moon is in 13th place, having taken 16 days to reach $251,530,186. Eclipse lands just behind it in 14th place, taking 16 days to reach $251,371,417. This puts the film ahead of Shrek the Third, Pirates of the Caribbean: At World's End, and Iron Man 2, which all took 17 days to hit $250M.
So far, The Twilight Saga: Eclipse has set all-time box office records for Opening Wednesdays, Single Day Wednesday Gross (non-adjusted), and Single Day Wednesday Gross (adjusted for inflation). It is in second place for Opening Day Gross, Single Day Gross, and Non-Opening Thursday Gross. Release records include Widest Releases, Widest Independent Releases, Widest Opening Independent Releases, Widest PG-13 Rated Openings, and Widest PG-13 Rated Releases.
There's been quite a bit of discussion online regarding the film's box office success. In particular, I wonder about the fairness of comparing the Twilight films against each other. Despite the fact that Eclipse is about to pass New Moon in domestic totals, the validity of judging one against the other is questionable given their strikingly different release schedules. As I've been saying since it opened, the idea was not to compete against or beat New Moon's early numbers. That may be a goal of some people but the idea is to make money, and maybe set some records in the process.
First, remember that the film's opening weekend started on a Wednesday. There is no way that a "weekend" that begins on a Wednesday can be compared to a "normal" 3-day weekend (when New Moon opened). So any comparison between the two based on how many "weekends" it's been out simply isn't valid. Next, look at the time of year the two films were released. New Moon came out during the Thanksgiving-Christmas holiday season. It's a big time of year for Hollywood but still doesn't compare to summer, when they put out their "tentpole" films -- the potential blockbusters that will keep the studios in the black for another year. The competition is much more fierce beginning Memorial Day weekend through the 4th of July. It's simply a different marketplace.
Is Summit happy with the film's box office returns? I don't know but I'm fairly sure they must be. Again, the goal was not to "beat New Moon." That may be something the press or some others will latch on to but it may not be a fair comparison. It was very easy to compare Twilight to New Moon since they opened at the same time one year apart. Not so much New Moon to Eclipse. I think it's wise to just see how the film does over time in its own right.
UPDATE THURSDAY, AUGUST 12:
Box office numbers are in for Wednesday, August 11. The Twilight Saga: Eclipse took in another $340,325 from 1,704 locations for a per theater average of $200 representing a decrease of 12% from Tuesday. This gives the film a cumulative domestic total of $294,218,322 after 43 days in release. Adding in overseas returns of $372.8M gives Eclipse a current worldwide total of $667,018,322.
The film stays in 11th place behind The Other Guys, which drops 20.9% from Wednesday but stays on top with $3,769,202 at 3,651 locations for a per theater average of $1,032, Inception, with $2,216,375 at 3,418 locations for a per theater average of $648 and a domestic cumulative total of $235,007,121 after 27 days in release, Step Up 3-D with $1,508,824, Despicable Me with $1,382,265, Dinner for Schmucks with $1,345,515, Salt with $1,260,639, Cats & Dogs: The Revenge of Kitty Galore with $1,073,288, Charlie St. Cloud with $708,445, Toy Story 3 with $514,837, and Ramona and Beezus with $344,753.
Theater counts for the week of Friday, August 13 - Thursday, August 19 reflect a decrease of 492 for The Twilight Saga: Eclipse to 1,212 locations. It drops from #12 to #13 behind The Other Guys with 3,651 (no change), The Expendables, opening at 3,270 locations, Inception with 3,120 (loss of 298), Eat Pray Love, opening at 3,082 locations, Dinner for Schmucks with 3,046 (gain of 42), Despicable Me with 2,918 (loss of 495), Salt with 2,834 (loss of 483), Scott Pilgrim vs. the World, opening at 2,818 locations, Cats & Dogs: The Revenge of Kitty Galore with 2,728 (loss of 977 to drop from #1 to #9), Step Up 3-D with 2,439 (gain of 4), Charlie St. Cloud with 2,078 (loss of 647), and Toy Story 3 with 1,219 (loss of 495).
Next update will be Monday, August 16.
UPDATE WEDNESDAY, AUGUST 11:
Box office numbers are in for Tuesday, August 10. The Twilight Saga: Eclipse took in another $386,851 from 1,704 locations for a per theater average of $227 representing a decrease of 0.6% from Monday. This gives the film a cumulative domestic total of $293,877,997 after 42 days in release. Adding in overseas returns of $372.8M gives Eclipse a current worldwide total of $666,677,997.
This moves the film out of the top 10 to #11 behind The Other Guys, which drops 4.3% from Tuesday and stays on top with $4,767,588 at 3,651 locations for a per theater average of $1,306, Inception, with $2,622,043 at 3,418 locations for a per theater average of $767 and a domestic cumulative total of $232,790,746 after 26 days in release, Step Up 3-D with $2,201,655, Despicable Me with $1,689,505, Dinner for Schmucks with $1,618,499, Salt with $1,579,869, Cats & Dogs: The Revenge of Kitty Galore with $1,338,425, Charlie St. Cloud with $913,005, Toy Story 3 with $593,930, and Ramona and Beezus with $398,055.
UPDATE TUESDAY, AUGUST 10:
Box office numbers are in for Monday, August 9. The Twilight Saga: Eclipse has moved back into the top 10, taking in another $389,276 from 1,704 locations for a per theater average of $228 representing a decrease of 41.6% from Sunday. This gives the film a cumulative domestic total of $293,491,146 after 41 days in release. Adding in overseas returns of $372.8M gives Eclipse a current worldwide total of $666,291,146.
This moves the film up from #13 to #10 behind The Other Guys, which drops 49.8% from Sunday but stays on top with $4,979,332 at 3,651 locations for a per theater average of $1,364, Inception, with $2,531,134 at 3,418 locations for a per theater average of $741 and a domestic cumulative total of $230,168,703 after 25 days in release, Step Up 3-D with $2,015,167, Dinner for Schmucks with $1,586,385, Despicable Me with $1,467,590, Salt with $1,371,236, Cats & Dogs: The Revenge of Kitty Galore with $1,056,046, Charlie St. Cloud with $831,125, and Toy Story 3 with $537,274.
UPDATE MONDAY, AUGUST 9:
ACTUALS ARE IN: The final domestic box office numbers for its sixth weekend show that The Twilight Saga: Eclipse finished 13th with $2,290,262 from 1,704 locations for a per theater average of $1,344. This represents a decrease of 43% from the previous weekend of July 30-August 1. The film's domestic cumulative total is now $293,101,870 through its first 40 days of release. This is the official tally which, including the actual numbers for Friday-Sunday, has been revised slightly downward by $9,738 from the previously announced $293.111M. It has now earned $372.8M overseas, giving Eclipse a current worldwide total of $665,901,870.
The daily breakdown, with percent change from the previous day, includes Friday's $724,136 for a per theater average of $425 (+16%), Saturday's $899,381 for a per theater average of $528 (+24.2%), and Sunday's $666,745 for a per theater average of $391 (-25.9%). Overall, the 3-day weekend of August 6-8 was down 43% from the 3-day weekend of July 30-August 1.
The top 10 films this weekend are The Other Guys, opening at 3,651 locations with $35,543,162 for a per theater average of $9,735, Inception, which drops 32.7% but only falls to second place in its fourth weekend with $18,505,470 at 3,418 locations for a per theater average of $5,414 and a domestic cumulative total of $227,637,569 after 24 days in release, Step Up 3-D, opening at 2,435 locations with $15,812,311 for a per theater average of $6,494, Salt with $10,908,204, Dinner for Schmucks with $10,375,397, Despicable Me with $9,283,360, Cats & Dogs: The Revenge of Kitty Galore with $6,902,116, Charlie St. Cloud with $4,700,490, Toy Story 3 with $3,119,088, and The Kids Are All Right, which breaks into the top 10 for the first time with $2,597,177 from just 994 locations for an average $2,613 and cume of $14,040,182 after 31 days in release. Grown Ups and The Sorcerer's Apprentice follow with Eclipse at #13.
Here is the reason why this overall number is slightly lower than the one reported by the industry on Sunday. After the Saturday box office totals came in on Sunday morning, the studio estimated what Sunday would be and came up with a weekend projection. That is standard industry procedure. Of course, Sunday figures could only be estimated at that point. The actual numbers weren't known until now. The figures that come in after the weekend are usually not too far off from the estimates made over the weekend. They usually adjust slightly up or down but are rarely far off. In this case, the numbers were slightly overestimated so the final number is revised downward.
For those comparing the films in The Twilight Saga, in its sixth weekend New Moon dropped out of the top 10 to come in at #11 with $3,044,259 from 1,593 theaters for an average of $1,911, representing a decrease of 30.9% from weekend five. Eclipse is at #13 with $2,290,262 from 1,704 locations for an average of $1,344, representing a decrease of 43% from weekend five. In cumulative domestic totals over time, at this point in its release history (after 40 days) New Moon had taken in $280,962,758. Eclipse is now at $293,101,870. Both films hit the $250M mark on the 16th day. The total domestic gross for New Moon was $296,623,634. Eclipse only needs about $3.5M to break that. It should happen by the end of the week. That would put the film within striking distance of the elusive $300M mark, which it may pass by the end of next weekend.
Keeping track of records, the film with the least number of days to reach $250M was The Dark Knight, which hit $261,847,503 after eight days. New Moon is in 13th place, having taken 16 days to reach $251,530,186. Eclipse lands just behind it in 14th place, taking 16 days to reach $251,371,417. This puts the film ahead of Shrek the Third, Pirates of the Caribbean: At World's End, and Iron Man 2, which all took 17 days to hit $250M.
So far, The Twilight Saga: Eclipse has set all-time box office records for Opening Wednesdays, Single Day Wednesday Gross (non-adjusted), and Single Day Wednesday Gross (adjusted for inflation). It is in second place for Opening Day Gross, Single Day Gross, and Non-Opening Thursday Gross. Release records include Widest Releases, Widest Independent Releases, Widest Opening Independent Releases, Widest PG-13 Rated Openings, and Widest PG-13 Rated Releases.
UPDATE SUNDAY, AUGUST 8 3:45 PM:
An updated foreign box office total of $372.8M gives Eclipse a new worldwide cumulative total of $665.911M.
UPDATE SUNDAY, AUGUST 8:
Official industry estimates show The Twilight Saga: Eclipse finishing 13th in its sixth weekend, taking in an estimated $2.3M from 1,704 locations with a per theater average of $1,350 for the Friday-Sunday period. This represents a decrease of 42.7% from the previous weekend of July 30-August 1. The film's domestic cumulative total is now $293.111M through its first 40 days of release. Adding in overseas returns of $356.7M gives Eclipse a current worldwide total of $649.811M.
The top 10 films this weekend are The Other Guys, opening at 3,651 locations with $35.6M for a per theater average of $9,751, Inception, which drops 32.3% but only falls to second place in its fourth weekend with $18.6M at 3,418 locations for a per theater average of $5,442 and a domestic cumulative total of $227.732M after 24 days in release, Step Up 3-D, opening at 2,435 locations with $15.5M for a per theater average of $6,366, Salt with $11.1M, Dinner for Schmucks with $10.5M, Despicable Me with $9.4M, Cats & Dogs: The Revenge of Kitty Galore with $6.91M, Charlie St. Cloud with $4.7M, Toy Story 3 with $3.048M, and The Kids Are All Right, which breaks into the top 10 for the first time with $2.606M from just 994 locations for an average $2,622 and cume of $14.011M after 31 days in release. Grown Ups and The Sorcerer's Apprentice follow with Eclipse at #13.
For those comparing the films in The Twilight Saga, in its sixth weekend New Moon dropped out of the top 10 to come in at #11 with $3,044,259 from 1,593 theaters for an average of $1,911, representing a decrease of 30.9% from weekend five. Eclipse is at #13 with $2.3M from 1,704 locations for an average of $1,350, representing a decrease of 42.7% from weekend five. In cumulative domestic totals over time, at this point in its release history (after 40 days) New Moon had taken in $280,962,758. Eclipse is now at $293,111,000. Both films hit the $250M mark on the 16th day. The total domestic gross for New Moon was $296,623,634. Eclipse only needs about $3.5M to break that. It should happen by the end of the week. That would put the film within striking distance of the elusive $300M mark, which it may pass by the end of next weekend.
These weekend box office numbers are not "actuals" yet, meaning they are only official estimates based on early reports. For those who are new to the box office numbers game, it may seem odd to have these figures when Sunday isn't even over yet. But it is standard procedure to have weekend totals announced at this time. After the Saturday box office totals come in on Sunday morning, studios always estimate Sunday and come up with a weekend projection. Therefore, Sunday and weekend figures can only be estimates at this point.
The actual numbers won't be known until Monday. But many years and literally thousands of projections have yielded formulas that allow the industry to predict fairly closely what Sunday will be based on Saturday's numbers and, therefore, what the weekend will look like. The actual numbers that come in after the weekend are usually not too far off from the estimates made on Sunday. They usually adjust slightly up or down but are rarely far off.
UPDATE SATURDAY, AUGUST 7:
Box office estimates are in for Friday, August 6. The Twilight Saga: Eclipse took in another $740K from 1,704 locations for a per theater average of $434. This represents an increase of 18.6% from Friday. Its new cumulative domestic total is $291.552M after 38 days in release. Adding in overseas returns of $356.7M gives Eclipse a current worldwide total of $648.252M.
It drops into 11th place behind The Other Guys, opening with $13.2M at 3,651 locations for a per theater average of $3,615, Step Up 3-D, opening with $6.6M at 2,435 locations for a per theater average of $2,710, Inception, with $5.53M at 3,418 locations for a per theater average of $1,618 and a domestic cumulative total of $214.662M after 22 days in release, Dinner for Schmucks with $3.38M, Salt with $3M, Despicable Me with $2.92M, Cats & Dogs: The Revenge of Kitty Galore with $2.15M, Charlie St. Cloud with $1.72M, Toy Story 3 with $860K, and Grown Ups with $750K.
UPDATE FRIDAY, AUGUST 6:
Box office numbers are in for Thursday, August 5. The Twilight Saga: Eclipse took in another $623,998 from 2,334 locations for a per theater average of $267 representing a decrease of 2.9% from Wednesday. This gives the film a cumulative domestic total of $290,811,608 after 37 days in release. Adding in overseas returns of $356.7M gives Eclipse a current worldwide total of $647,511,608.
It remains in 10th place behind Inception, Dinner for Schmucks, Despicable Me, Salt, Cats & Dogs: The Revenge of Kitty Galore, Charlie St. Cloud, Toy Story 3, Ramona and Beezus, and The Sorcerer's Apprentice.
Here are the weekly numbers for the period from Friday, July 30 - Thursday, August 5. In its fifth full week, The Twilight Saga: Eclipse took in $6,626,654 from 2,334 locations for a per theater average of $2,839. This represents a 42.6% decrease from the previous week. It dropped from seventh to 11th place for the seven-day period behind Inception, Dinner for Schmucks, Salt, Despicable Me, Cats & Dogs: The Revenge of Kitty Galore, Charlie St. Cloud, Toy Story 3, The Sorcerer's Apprentice, Grown Ups, and Ramona and Beezus.
UPDATE THURSDAY, AUGUST 5:
Box office numbers are in for Wednesday, August 4. The Twilight Saga: Eclipse took in another $642,498 from 2,334 locations for a per theater average of $275 representing a decrease of 7.8% from Tuesday. This gives the film a cumulative domestic total of $290,187,610 after 36 days in release. Adding in overseas returns of $356.7M gives Eclipse a current worldwide total of $646,887,610.
It remains in 10th place behind Inception, Dinner for Schmucks, Despicable Me, Salt, Cats & Dogs: The Revenge of Kitty Galore, Charlie St. Cloud, Toy Story 3, Ramona and Beezus, and The Sorcerer's Apprentice.
Theater counts for the week of Friday, August 6 - Thursday, August 12 reflect a decrease of 630 for The Twilight Saga: Eclipse to 1,704 locations. It drops from #9 to #12 behind Cats & Dogs: The Revenge of Kitty Galore with 3,705 (no change), The Other Guys, opening at 3,651 locations, Inception with 3,418 (loss of 127), Despicable Me with 3,413 (loss of 189), Salt with 3,317 (loss of 295), Dinner for Schmucks with 3,004 (gain of 93), Charlie St. Cloud with 2,725 (gain of 7), Step Up 3-D, opening at 2,435 locations, Grown Ups with 1,769 (loss of 500), The Sorcerer's Apprentice with 1,766 (loss of 758), and Toy Story 3 with 1,714 (loss of 391).
UPDATE WEDNESDAY, AUGUST 4:
Box office numbers are in for Tuesday, August 3. The Twilight Saga: Eclipse took in another $696,754 from 2,334 locations for a per theater average of $299 representing an increase of 7.4% from Monday. This gives the film a cumulative domestic total of $289,545,112 after 35 days in release. Adding in overseas returns of $356.7M gives Eclipse a current worldwide total of $646,245,112.
It falls from ninth to 10th place behind Inception, which drops 3.9% from Monday but stays on top with $4,122,497 at 3,545 locations for a per theater average of $1,163 and a domestic cumulative total of $201,725,628 after 19 days in release, Dinner for Schmucks with $3,419,913, Salt with $2,723,264, Despicable Me with $2,630,125, Cats & Dogs: The Revenge of Kitty Galore with $2,089,083, Charlie St. Cloud with $1,834,225, Toy Story 3 with $964,638, Ramona and Beezus with $867,397, and The Sorcerer's Apprentice with $736,427.
UPDATE TUESDAY, AUGUST 3:
Box office numbers are in for Monday, August 2. The Twilight Saga: Eclipse took in another $648,451 from 2,334 locations for a per theater average of $278 representing a decrease of 45.8% from Sunday. This gives the film a cumulative domestic total of $288,848,358 after 34 days in release. Adding in overseas returns of $356.7M gives Eclipse a current worldwide total of $645,548,358.
It moves back up from 10th to ninth place behind Inception, which drops 50% from Sunday but stays on top with $4,289,390 at 3,545 locations for a per theater average of $1,210 and a domestic cumulative total of $197,603,131 after 18 days in release, Dinner for Schmucks with $3,552,481, Salt with $2,602,334, Despicable Me with $2,413,340, Charlie St. Cloud with $1,752,985, Cats & Dogs: The Revenge of Kitty Galore with $1,709,133, Toy Story 3 with $845,048, and The Sorcerer's Apprentice with $664,326. Dropping below Eclipse is Grown Ups with $621,383.
UPDATE MONDAY, AUGUST 2:
ACTUALS ARE IN: The final domestic box office numbers for its fifth weekend show that The Twilight Saga: Eclipse finished 10th with $4,014,953 from 2,334 locations for a per theater average of $1,720. This represents a decrease of 44.1% from the previous weekend of July 23-26. The film's domestic cumulative total is now $288,199,907 through its first 33 days of release. This is the official tally which, including the actual numbers for Friday-Sunday, has been revised slightly upward by $49,953 from the previously announced $3,965,000. It has now earned $356.7M overseas, giving Eclipse a current worldwide total of $644,899,907.
It falls from eighth to 10th place behind Inception, which drops 35.7% but stays on top in its third weekend with $27,485,245 at 3,545 locations for a per theater average of $7,753 and a domestic cumulative total of $193,313,741 after 17 days in release, Dinner for Schmucks, opening at 2,911 locations with $23,527,839, Salt with $19,471,355, Despicable Me with $15,524,230, Charlie St. Cloud, opening at 2,720 locations with $12,381,585, Cats & Dogs: The Revenge of Kitty Galore, opening at 3,705 locations with $12,279,363, Toy Story 3 with $5,122,907, Grown Ups with $4,548,144, and The Sorcerer's Apprentice with $4,465,524. In a rare revision, Charlie St. Cloud(projected to finish at #6) and Cats & Dogs: The Revenge of Kitty Galore (projected to finish at #5) swapped places after the actual numbers were tabulated.
The daily breakdown, with percent change from the previous day, includes Friday's $1,281,786 for a per theater average of $549 (+21.2%), Saturday's $1,536,393 for a per theater average of $658 (+19.9%), and Sunday's $1,196,774 for a per theater average of $513 (-22.1%). Overall, the 3-day weekend of July 30 - August 1 was down 44.1% from the 3-day weekend of July 23-25.
Here is the reason why this overall number is higher than the one reported by the industry on Sunday. After the Saturday box office totals came in on Sunday morning, the studio estimated what Sunday would be and came up with a weekend projection. That is standard industry procedure. Of course, Sunday figures could only be estimated at that point. The actual numbers weren't known until now. The figures that come in after the weekend are usually not too far off from the estimates made over the weekend. They usually adjust slightly up or down but are rarely far off. In this case, the numbers were slightly underestimated so the final number is revised upward.
For those comparing the films in The Twilight Saga, in its fifth weekend New Moon was in fifth place with $4,407,598 from 3,035 theaters for an average of $1,452, representing a decrease of 44.6% from weekend four. In cumulative domestic totals over time, at this point in its release history (after 33 days) New Moon had taken in $276,620,062. Eclipse is now at $288,199,907. Both films hit the $250M mark on the 16th day.
UPDATE SUNDAY, AUGUST 1 12:30 PM:
Updated industry estimates show The Twilight Saga: Eclipse finishing 10th in its fifth weekend, taking in an estimated $3.965M from 2,334 locations with a per theater average of $1,699 for the Friday-Sunday period. This represents a decrease of 44.82% from the previous weekend of July 23-25. The film's domestic cumulative total is now $288.2M through its first 33 days of release. Adding in overseas returns of $326.4M gives Eclipse a current worldwide total of $614.6M.
It falls to 10th place behind Inception, which drops 35.59% but stays on top in its third weekend with $27.52M at 3,545 locations for a per theater average of $7,763 and a domestic cumulative total of $193.348M after 17 days in release, Dinner for Schmucks, opening at 2,911 locations with $23.3M, Salt with $19.25M, Despicable Me with $15.543M, Cats & Dogs: The Revenge of Kitty Galore, opening at 3,705 locations with $12.525M, Charlie St. Cloud, opening at 2,720 locations with $12.136M, Toy Story 3 with $5.035M, Grown Ups with $4.5M, and The Sorcerer's Apprentice with $4.32M.
These numbers are not "actuals," meaning they are only official estimates based on early reports. For those who are new to the box office numbers game, it may seem odd to have these figures when Sunday isn't even over yet. But it is standard procedure to have weekend totals announced at this time. After the Saturday box office totals come in on Sunday morning, studios always estimate Sunday and come up with a weekend projection. Therefore, Sunday and weekend figures can only be estimates at this point.
The actual numbers won't be known until Monday. But many years and literally thousands of projections have yielded formulas that allow the industry to predict fairly closely what Sunday will be based on Saturday's numbers and, therefore, what the weekend will look like. The actual numbers that come in after the weekend are usually not too far off from the estimates made on Sunday. They usually adjust slightly up or down but are rarely far off.
UPDATE SATURDAY, JULY 31 3:00 PM:
Final box office estimates are in for Friday, July 30. The Twilight Saga: Eclipse took in another $1.275M from 2,334 locations for a per theater average of $546. This represents an increase of 20.5% from Thursday. Its new cumulative domestic total is $285.46M after 31 days in release. Adding in overseas returns of $326.4M gives Eclipse a current worldwide total of $611.86M.
It drops into a tie for 10th place behind Dinner for Schmucks, opening with $8.4M at 2,911 locations for a per theater average of $2,886, Inception, with $8.15M at 3,545 locations for a per theater average of $2,299 and a domestic cumulative total of $173.978M after 15 days in release, Salt with $5.9M, Charlie St. Cloud, opening with $5.615M, Despicable Me with $4.685M, Cats & Dogs: The Revenge of Kitty Galore, opening with $4.225M, Toy Story 3 with $1.45M, Grown Ups with $1.4M, and The Sorcerer's Apprentice with $1.325M. Eclipse is tied with Ramona and Beezus with $1.275M.
UPDATE SATURDAY, JULY 31 1:00 PM:
Early box office estimates are in for Friday, July 30. The Twilight Saga: Eclipse has dropped out of the top 10. Therefore, no numbers are available at this time for it. Topping the charts is Dinner For Schmucks opening with $8.3M, followed by Inception with $8.1M, Salt with $5.9M, Charlie St Cloud opening with $5.6M, Despicable Me with $4.6M, Cats & Dogs: Kitty Galore opening with $4.2M, Toy Story 3 with $1.4M, Grown Ups with $1.3M, Sorcerer's Apprentice with $1.3M, and Ramona and Beezus with $1.2M.
UPDATE FRIDAY, JULY 30:
Box office numbers are in for Thursday, July 29. The Twilight Saga: Eclipse took in another $1,057,969 from 3,121 locations for a per theater average of $339 representing a decrease of 0.5% from Wednesday. This gives the film a cumulative domestic total of $284,184,954 after 30 days in release. Adding in overseas returns of $326.4M gives Eclipse a current worldwide total of $610,584,954.
It stays in seventh place behind Inception with $5,289,225 at 3,792 locations for a per theater average of $1,395 and a domestic cumulative total of $165,828,496 after 14 days in release, Salt with $3,403,960 at 3,612 locations, Despicable Me with $3,455,325, Toy Story 3 with $1,356,738, Ramona and Beezus with $1,171,566, and The Sorcerer's Apprentice with $1,197,715. Rounding out the top 10 behind Eclipse are Grown Ups with $995,574, The Last Airbender with $528,177, and Predators with $363,110. Indie drama The Kids Are All Right is in 11th place with $306,962 from just 201 locations for a per theater average of $1,527, the #1 average of the top 13 films. It's earned $6,110,923 on a budget of $4M after 21 days.
Here are the weekly numbers for the period from Friday, July 23 - Thursday, July 29. In its fourth full week, The Twilight Saga: Eclipse took in $11,543,862 from 3,121 locations for a per theater average of $3,699. This represents a 45.74% decrease from the previous week. It dropped from fourth to seventh place for the seven-day period behind Inception, Salt, Despicable Me, The Sorcerer's Apprentice, Toy Story 3, and Ramona and Beezus.
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Posted August 17, 2010 by
The countdown to Fantastic Fest is on, with Opening Night just five weeks from Thursday. I'll be there and you can count on my usual blanket coverage, of course. I've described Fantastic Fest as more of a convention -- a Comic-Con, if you will -- as opposed to a conventional "film festival." There's always a wide range of interactive activities and discussions in addition to the screenings. But those movies will surely be the main attraction, especially for this journalist, who's made no secret of his love for genre films.This year's event runs from September 23-30 in rockin' Austin, Texas. This is also the location of the prestigious SXSW Film Festival, and readers of this blog know that my annual coverage of SXSW gushes with accolades for the venues there -- arguably the best in America -- the very same ones used for screenings at this festival. The First Wave of titles was announced on July 21st.
Today the festival announced that the Opening Night Film of Fantastic Fest 2010 will be the gala American Premiere of Matt Reeves' Let Me In, based on the best-selling Swedish novel Låt den Rätte Komma and its 2008 film adaptation Let The Right One In. Chloe Moretz (Kick Ass), Kodi Smit-McPhee (The Road), Elias Koteas (Shutter Island), and Richard Jenkins (The Visitor) star in this long-awaited American version. The event will take place at the historic Paramount Theatre on Thursday, September 23.
I attended the World Premiere of the highly acclaimed Swedish original at the 2008 Tribeca Film Festival -- the very first press screening, in fact, so I saw the film and selected it as one of my Top Picks of that festival (and my Top 10 of the Year) long before the buzz began. I saw it twice more that week -- at its first public screening and at its presentation as the Audience Award winner. When the American "remake" was first announced it was met with scorn and derision, but as time passed more and more fans warmed up to the idea that this movie just might be worthy in its own right. I'm looking forward to seeing if the latter is true.
"We are truly honored that Fantastic Fest has chosen to open their festival with the U.S. premiere of Let Me In," said director Matt Reeves. "It is incredibly exciting to be able to present the film to an audience who I know are just as passionate about John Ajvide Linqvist's story as I am."
Festival co-founder Tim League added, "Fantastic Fest has been following the development of this movie with rabid interest and we couldn't be more excited to share what Matt Reeves has up his sleeve in adapting this incredible story. We anticipate that this will solidify his place as a visionary genre artist. And more than anything Fantastic Fest is ecstatic to see vampires doing what they do best - horrifying us with their bloodlust."
Everything you need to know about Fantastic Fest 2010 is available at the festival's official site, including the latest information on tickets and badges.
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Posted August 16, 2010 by
The 2010 Toronto International Film Festival is just over three weeks away. I've attended 47 film festivals since the start of 2006, but none as prestigious or breathtaking in scope as this one. I saw over 105 films there from 2006-2009, and many of my Top Picks from all festivals over the past few years (of over 500 in total) came from the TIFF lineup. This year's event runs from September 9-19 and is considered by many (including myself) to be the top film festival in the Western Hemisphere, second in the world only to Cannes. Many movies have their World, International or North American premieres there. Almost every major Academy Award-winning motion picture of the past few years debuted at this festival. The number of films is expected to total over 275.
Previously announced titles include Score: A Hockey Musical, the Official Opening Night Film, over 50 Galas and Special Presentations, 25 documentaries along with the Wavelengths program, and 24 films from host country Canada. The full schedule and list of guests will be revealed on Tuesday, August 24. Today's press conference announced the highly-anticipated titles in the Midnight Madness, City to City, and Sprockets Family Zone sections, along with two Galas (including the Official Closing Night film) and 18 Special Presentations.
Ticket packages are now available for purchase by cash, debit, or Visa online at tiff.net/thefestival, by phone at 416-968-FILM or 1-877-968-FILM (Monday through Friday 10 AM to 7 PM), or in person until August 20 at the TIFF Box Office at 2 Carlton Street, West Mezzanine (Monday to Friday 10 AM to 7 PM). Beginning August 24, tickets may be purchased at the Festival Box Office located at 363 King Street West at Peter St.
MIDNIGHT MADNESS
Readers of this blog know of my love for genre films, and films in the Midnight Madness section have been among my Top Picks from the last several festivals in Toronto including The Abandoned, All the Boys Love Mandy Lane, Severance, Diary of the Dead, Acolytes, Deadgirl, Daybreakers, Jennifer's Body, Survival of the Dead, and The Loved Ones. "From the streets of Hong Kong to a post-apocalyptic, vampire-plagued United States, from a town run by Kung Fu killers to the oil fields of Alberta, this year’s Midnight Madness selection will take audiences into worlds that are sure to excite, shock and thrill,” said TIFF programmer Colin Geddes.
Here is the complete lineup and schedule. All screenings are held at the Ryerson Theatre:
Opening Night Film
Thursday, September 9
Fubar II -- Michael Dowse, Canada
World Premiere
In the sequel to the 2002 cult comedy Fubar, hoser headbangers Terry and Dean are back and hit the road to find wealth, happiness and more beer in the oil fields of Alberta. Special appearance by Tron.
Friday, September 10
SUPER -- James Gunn, USA
World Premiere
After his wife (Liv Tyler) leaves him for a drug dealer (Kevin Bacon), a frustrated husband (Rainn Wilson) decides he will win her back as Crimson Bolt, a costumed vigilante armed with a monkey wrench. His actions bring him an admirer, an overeager comic store clerk (Ellen Page) who wants to be his sidekick.
Saturday, September 11
Bunraku -- Guy Moshe, USA
In a world with no guns, a mysterious drifter (Josh Hartnett), a young samurai and a bartender (Woody Harrelson) plot revenge against a ruthless leader (Ron Perlman) and his army of thugs, headed by nine diverse and deadly assassins. This visually stunning film is filled with uniquely choreographed action sequences of a new style that melds east with west and old school with new. The film also stars Demi Moore.
Sunday September 12
Vanishing on 7th Street -- Brad Anderson, USA
World Premiere
When a massive power blackout causes the population to inexplicably vanish, a small handful of survivors (Hayden Christensen, Thandie Newton, John Leguizamo) band together inside a desolate tavern, struggling to survive as the darkness hones in on them. From director Brad Anderson (The Machinist, Transsiberian) comes an apocalyptic thriller with a terrifying vision of our world's end and a story that wrestles with the nature of existence itself.
Monday September 13
The Ward -- John Carpenter, USA
World Premiere
Acclaimed director John Carpenter (Halloween, The Thing) makes his long-awaited return to the screen with a thriller about a young woman (Amber Heard) in a 1960s mental institution who becomes terrorized by malevolent unseen forces.
Tuesday, September 14
Insidious -- James Wan, USA
World Premiere
When proud parents take possession of an old house, an accident results in one of their sons falling into a coma. The tragedy doesn't stop there when they are beset by vengeful spirits from another realm in this new chiller by the director and writer of Saw and by the producers of Paranormal Activity. The film stars Rose Byrne, Barbara Hershey and Patrick Wilson.
Wednesday, September 15
Red Nights -- Julien Carbon, Laurent Courtiaud, Hong Kong/China/France
World Premiere
This shocking debut by director duo Carbon and Courtiaud is a seductive cat-and-mouse thriller set in Hong Kong, about a woman's obsessive desire to own a rare object that hides a deadly and perverse secret.
Thursday, September 16
The Butcher, The Chef and the Swordsman -- Wuershan, Hong Kong/China/USA
World Premiere
A group of misfits become mixed up in the struggle to own a deadly kitchen cleaver made from the top five swords of the martial arts world in this wild and brash action comedy that is sure to have audiences running to Chinatown after the film for a late night snack.
Friday, September 17
Stake Land -- Jim Mickle, USA
World Premiere
In the aftermath of a vampire epidemic, a teen is taken in by a grizzled vampire hunter on a road trip through a post-apocalyptic America, battling both the bloodsuckers and a fundamentalist militia that interprets the plague as the Lord’s work.
Saturday, September 18
Fire of Conscience -- Dante Lam, Hong Kong/China
North American Premiere
Dante Lam proves himself to be a talent to look out for in this slam bang action film where robbers and gunrunners battle with cops on the busy urban streets of Hong Kong. Starring Leon Lai, Fire of Conscience is easily one of loudest action films from Hong Kong in recent memory, with an orchestra of exploding grenades and machine gun rounds.
CITY TO CITY
"This has been a hard secret to keep! When we began discussions about a short list of possible cities back in January, Istanbul quickly emerged as a leading candidate," said TIFF head Cameron Bailey. "Most people know Istanbul as a dynamic city with a rich history, but its film scene is less well-known. Over the past five years, filmmakers from this vibrant metropolis have been winning awards at Cannes and Berlin. Now, some are making the leap to festivals outside of Europe. We’re so pleased to feature films from Istanbul this year: audiences will have access to strong emerging filmmakers, at the moment just before they're sure to be discovered somewhere else."
10 to 11 -- Pelin Esmer, Turkey/France/Germany
North American Premiere
An elderly man clashes with his neighbours as they try to remove him – and his elaborate collections of ephemera -- from his apartment.
40 -- Emre Sahin, Turkey
International Premiere
Capturing the dazzling intensity of Istanbul's 12 million souls, Sahin's groundbreaking feature crisscrosses the lives of a petty crook, an ambitious nurse and an African migrant as they seek money, luck or just a way out.
Block-C -- Zeki Demirkubuz, Turkey Canadian Premiere
Zeki Demirkubuz's career-launching debut feature dissects the melancholy and repression inherent in bourgeois life in dreary apartment blocks.
Dark Cloud -- Theron Patterson, Turkey
North American Premiere
A black comedy in the style of a lucid dream, Dark Cloud looks at a middle-aged man who can't move on from the death of his wife, and the teenaged son who needs him to wake up.
Distant -- Nuri Bilge Ceylan, Turkey
Distant maps Nuri Bilge Ceylan's signature exploration of existential heartache onto the wintry shores of Istanbul.
Hair -- Tayfun Pirselimou, Turkey
North American Premiere
An ailing Istanbul wig-maker becomes obsessed with a woman who enters his shop one day.
The Majority -- Seren Yüce, Turkey
North American Premiere
A young middle-class man rebels against his father's brutish authority and seeks a rough romance with a woman of ethnic minority. Yüce's moral tale draws from the example of today's Turkish youth and the timeless shadow of fathers over sons.
My Only Sunshine -- Reha Erdem, Turkey/Greece/Bulgaria
Toronto Premiere
In this potent, widescreen portrait of an Istanbul wild child, Hayat lives in a shack beside the Bosphorus sea with her criminal father and wheezing grandfather. Life is harsh, but Hayat watches and learns.
September 12 -- Özlem Sulak, Turkey/Germany
North American Premiere
In this meditative and monumental examination of the legacy of Turkey’s 1980 military coup, individual narrations of the tumultuous event are juxtaposed with quotidian routines, 30 years on.
Somersault in a Coffin -- Dervis Zaim, Turkey
A thief with bizarre compulsions – and possibly good reasons – tries to get by in this essential Istanbul film.
GALAS
Closing Night Film
Last Night -- Massy Tadjedin, USA/France
World Premiere
A married couple are apart for a night when the husband takes a business trip with a colleague to whom he's attracted. While he's away, his wife encounters her past love. The film stars Keira Knightley, Eva Mendes, Sam Worthington and Guillaume Canet.
Sarah’s Key -- Gilles Paquet Brenner, France
World Premiere
Based on Tatiana de Rosnay’s best-selling novel, Sarah’s Key tells the story of an American journalist on the brink of making big life decisions regarding her marriage and her unborn child. What starts off as research for an article about the Vel’d’Hiv Roundup in 1942 in France ends up as a journey towards self discovery as she stumbles upon a terrible secret. The film stars Kristin Scott Thomas, Mélusine Mayance, Niels Arestrup, Frédéric Pierrot, Michel Duchaussoy and Aidan Quinn.
SPECIAL PRESENTATIONS
127 Hours -- Danny Boyle, USA
World Premiere
127 Hours is the true story of mountain climber Aron Ralston’s (James Franco) remarkable adventure to save himself after a fallen boulder crashes on his arm and traps him in an isolated canyon in Utah. Over the next five days Ralston examines his life and survives the elements to finally discover he has the courage and the wherewithal to extricate himself by any means necessary. The film also stars Clémence Poésy, Amber Tamblyn and Kate Mara.
AMIGO --John Sayles, USA
World Premiere
At the beginning of the 20th Century, during the Philippine-American War, a garrison under the command of US Lieutenant Compton is left to ‘protect’ San Isidro, a remote region located in the Philippines. Compton can only communicate with Rafael, the Head of the barrio, through the friar Hidalgo who bears a deep resentment towards Rafael. Neither side can understand or trust the other, but are forced to live together, trying to survive in the middle of a war. When the American occupation policy gets tougher, Rafael has to answer to both the Americans and the Filipino patriots.
Deep in the Woods -- Benoît Jacquot, France/Germany
North American Premiere
France, 1865. A young vagabond, Timothée, arrives in a village and is given food and lodging by Doctor Hughes and his daughter Joséphine. Joséphine runs after him, leaving her home and father, driven by an uncontrollable force. Distraught, she follows this young man for whom she seems to feel only fear and disgust. Their pilgrimage will reveal another truth.
Everything Must Go -- Dan Rush, USA
World Premiere
After 16 years spent devising motivational speeches that promise certain success, Nick Porter (Will Ferrell) is abruptly fired. He returns home to discover his wife has left him, changed the locks on their home and dumped all his possessions on the front yard. Nick puts it all on the line – or, more properly, on the lawn – with an absurdly escalating garage sale that becomes a unique strategy for survival. Nick comes face-to-face with a life turned inside out and discovers in total exposure an unexpected path to renewal.
Gorbaciòf - The Cashier who Liked Gambling -- Stefano Incerti, Italy
North American Premiere
A compulsive gambler who works in the petty-cash office of the Poggioreale prison falls in love with Lily, an illegal immigrant, and tries to free both of them from their dead-end lives. The film stars Toni Servillo, Mi Yang and Nello Mascia.
Hereafter -- Clint Eastwood, United Kingdom
World Premiere
The story of three people haunted by mortality in different ways, Hereafter stars Matt Damon as a blue-collar American who has a special connection to the afterlife. On the other side of the world, a French journalist (Cécile de France), has a near-death experience that shakes her reality. And when London schoolboy Marcus (Frankie/George McLaren) loses the person closest to him, he needs answers. Each in search of the truth, their lives will intersect, forever changed by what might – or must – exist in the hereafter. The film also stars Jay Mohr, Bryce Dallas Howard, Marthe Keller, Thierry Neuvic and Derek Jacobi.
I’m Still Here -- Casey Affleck, USA
International Premiere
The directorial debut of Oscar-nominated actor Casey Affleck, I’m Still Here is a portrayal of a tumultuous year in the life of internationally acclaimed actor Joaquin Phoenix. With remarkable access, I’m Still Here follows the Oscar nominee as he announces his retirement from a successful film career in the fall of 2008 and sets off to reinvent himself as a hip hop musician. The film is a portrait of an artist at a crossroads. Defying expectations, it deftly explores notions of courage and creative reinvention, as well as the ramifications of a life spent in the public eye.
Julia’s Eyes -- Guillem Morales, Spain
World Premiere
Julia, a woman suffering from a degenerative eye disease, finds her blind twin sister Sara hanged in the basement of her house. Julia decides to investigate what she feels is a murder case, entering a dark world that seems to hide a mysterious presence. As Julia begins to uncover the terrifying truth about her sister's death, her sight deteriorates further, until a series of unexplained deaths and disappearances cross her path. The film stars Belén Rueda and Lluis Homar.
The Last Circus -- Álex de la Iglesia, Spain/France
North American Premiere
Álex de la Iglesia's genius for dark humour is at its most eloquent in his latest parody about the Spanish Civil War. Two clowns attack and disfigure one another in jealous rages over a beautiful dancer. In the name of love, they destroy the very object of their affection.
Let Me In -- Matt Reeves, United Kingdom/USA
World Premiere
Chloë Moretz (Kick-Ass) stars as Abby, a mysterious 12-year-old girl, who moves next door to Owen (Kodi Smit-McPhee, The Road), a social outcast who is viciously bullied at school. As a string of grisly murders occupy the town, Owen has to confront the reality that this seemingly innocent girl is really a savage vampire. Let Me In is based on the best-selling Swedish novel Låt den Rätte Komma (Let The Right One In), and the highly acclaimed film of the same name.
The House by the Medlar Tree -- Pasquale Scimeca, Italy
International Premiere
The Malavoglia are a family of fishermen: Grandfather Padron 'Ntoni, his son Bastianazzo and wife Maruzza, and their children 'Ntoni, Mena, Alessi and Lia. One night Bastianazzo dies in a boating accident, leaving the family on the verge of a break down.
Mothers -- Milcho Manchevski, Macedonia/France/Bulgaria
World Premiere
A child's friend is accosted by a flasher so she decides to go to the police herself; a film crew sets out to find the old traditions and discovers a grandmother living alone in an abandoned village; retired cleaning women are found raped and strangled in a small town. The innovative structure of Mothers highlights the delicate nature of truth and fiction, of drama and documentary.
Passion -- John Turturro, Italy
North American Premiere
Passion journeys through Napoli, one of the biggest jukeboxes in the world with a treasure chest of songs from the 1200s to present day. Each song conjures distant stories and myths that speak of love, sex, jealousy, crime, poverty, irony, superstition, and social protest.
Passion Play -- Mitch Glazer, USA
World Premiere
Set in the desert and laced with the deep elements of a modern fable, Passion Play tells the tale of Nate (Mickey Rourke), a down-on-his-luck jazz trumpet player who forms a bond with Lily (Megan Fox), a woman born with wings who has wound up as a carnival sideshow attraction. Together these two damaged souls undertake a turbulent romantic journey while trying to avoid the witty and menacing Happy (Bill Murray), a local gangster.
The Poll Diaries -- Chris Kraus, Germany/Austria/Estonia
World Premiere
On the eve of World War I, a 14-year-old German girl returns to her home on the Baltic coast, a place uneasily shared by Germans, Russians and Estonians. While her morbid scientist father controls the family with a cruel hand, the passionate young girl secretly nurses a wounded Estonian anarchist back to health – an act of curiosity and then of defiance that could set off an uncontrollable chain reaction.
Rio Sex Comedy -- Jonathan Nossiter, France/Brazil
World Premiere
Rio Sex Comedy charts the misadventures of expatriates in Rio in their search for both personal pleasures and social justice. Charlotte Rampling is an English plastic surgeon determined to subvert anyone from going near the knife. Irène Jacob is a French anthropologist whose political correctness is upstaged by more carnal ambitions. Bill Pullman is a befuddled American ambassador who flees from his responsibilities into one of Rio’s most dangerous favelas. There he becomes co-opted by the schemes of Fisher Stevens, favela tour operator and romantic huckster.
Special Treatment -- Jeanne Labrune, France/Luxembourg/Belgium
World Premiere
A high-class prostitute and a pre-eminent psychoanalyst discover that they share many things in common. They are both unhappy with their professions, seeking a way out that involves unique contact with each other's worlds.
What's Wrong With Virginia -- Dustin Lance Black, USA
World Premiere
Jennifer Connelly stars as Virginia, a charming yet mentally ill mother whose greatest love is her protector and illegitimate son, Emmett (Harrison Gilbertson). Richard Tipton (Ed Harris), the local married Mormon sheriff, who is running for public office, might very well be Emmett’s father. Their boardwalk town’s peculiar secrets are threatened when Virginia’s son begins a romantic relationship with Tipton’s daughter (Emma Roberts) sending mother and son on a mad dash to seize their own brand of the American Dream – guns blazing.
SPROCKETS FAMILY ZONE
Karla and Jonas -- Charlotte Sachs Bostrup, Denmark
North American Premiere
Thirteen-year-olds Karla and Jonas search for Jonas’ birth mother in this coming of age story based on the books by Renée Toft Simonsen.
Little Sister -- Richard Bowen, China/USA
World Premiere
Based on one of the earliest versions of the beloved Cinderella tale comes a magical film that reveals the Chinese origins of this widely known fairy tale.
Make Believe -- J. Clay Tweel, USA
International Premiere
A group of dedicated teen magicians amaze audiences by performing seemingly impossible feats while pursuing the title of Teen World Champion Magician.
Sammy’s Adventures: The Secret Passage -- Ben Stassen, Belgium
North American Premiere
Sammy the sea turtle embarks on an exciting 50-year journey through the oceans in this 3D animation film that combines entertainment with an environmental message.
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Posted August 11, 2010 by
Once again I will be taking a break from posting for a few days here and there due to my ongoing family health issue. I'll try to stay on top of any breaking stories and tweet when possible at twitter.com/larry411.
Thanks for understanding.
Thanks for understanding.
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Posted August 10, 2010 by
The countdown to the 2010 Toronto International Film Festival is on, with Opening Night just four weeks from Thursday. You can count on my coverage, of course -- this will be my fifth year attending TIFF. I saw over 105 films there from 2006-2009, and many of my Top Picks from all festivals over the past few years (out of over 500 films) came from the Toronto lineup. This year's event runs from September 9-19. Almost every major Academy Award-winning film of the past few years debuted in Toronto. I've been to 47 film festivals since the start of 2006, but none as prestigious or breathtaking in scope as TIFF, which I consider to be the top film festival in the Western Hemisphere, second in the world only to Cannes. The number of films is expected to total over 275 with a a large percentage being World, International, or North American premieres.
Previously announced titles include Score: A Hockey Musical, the Official Opening Night Film, over 50 Galas and Special Presentations, and 25 documentaries along with the Wavelengths program. The highly-anticipated titles in the City to City and Midnight Madness programs will be announced in a press conference on Tuesday, August 17th, along with additional Galas and Special Presentations. The full schedule and list of guests will be revealed on Tuesday, August 24.
Today's announcement focuses on host country Canada. Looking back I've found that many of the films I've selected as Top Picks over the years came from the lineup of Canadian entries. Our neighbor to the north hasn't always been known as a hotbed for filmmaking talent -- even the locals deride the native industry -- but I've been very impressed with many of the titles and look forward to them every year. There have been 2,127 Canadian films at TIFF since 1976. Today's announcement of 24 features from Canada includes the Midnight Madness Opening Night Film, one Gala, six Special Presentations, five in the Contemporary World Cinema section, two docs in the Real to Real program, two titles in the Visions section, one Canadian Open Vault selection, and six in the Canada First program. In addition, 40 titles in the Short Cuts Canada program have been announced.
"It’s a testament to the creative minds and incredible talent in this country that we have such a diverse and exciting offering of Canadian films across all programmes in this year’s Festival," said TIFF programmer Steve Gravestock. "It’s an exciting time for Canadian cinema and we’re proud to bring audiences this line-up of films which includes documentaries profiling some of our beloved national figures, powerful and unsettling dramas, thrillers, comedies, romances and a record number of dysfunctional families."
Ticket packages are now available for purchase by cash, debit, or Visa online at tiff.net/thefestival, by phone at 416-968-FILM or 1-877-968-FILM (Monday through Friday, 10 AM to 7 PM), or in person at the TIFF Box Office at 2 Carlton Street, West Mezzanine (Monday to Friday: 10 AM to 7 PM. This year TIFF has introduced The Canadian Pack, a package selected by festival programmers that offers film lovers exposure to Canadian talent with a selection of five new Canadian films for $80.
Here are the Canadian films announced today (descriptions provided by the festival):
MIDNIGHT MADNESS OPENING NIGHT
Fubar II -- Michael Dowse, Canada
World Premiere
In the sequel to the 2002 cult comedy Fubar, hoser headbangers Terry and Dean are back and hit the road to find wealth, happiness and more beer in the oil fields of Alberta. Special appearance by Tron.
GALAS
A Beginners Guide to Endings -- Jonathan Sobol, Canada
World Premiere
Raucous, charming and very funny, Jonathan Sobol's comedy A Beginners Guide to Endings follows three sons as they deal with their gambler father's somewhat complicated legacy. Featuring the legendary Harvey Keitel, the film also stars Scott Caan, Paolo Costanzo, Wendy Crewson, Tricia Helfer, Jason Jones, and J.K. Simmons.
Previously announced Canadian Galas include: The Bang Bang Club, Steven Silver; Barney's Version, Richard J. Lewis; Casino Jack, George Hickenlooper; and Score: A Hockey Musical, Mike McGowan.
SPECIAL PRESENTATIONS
Force of Nature: The David Suzuki Movie -- Sturla Gunnarsson, Canada
World Premiere
At 75 years old, David Suzuki shows no signs of slowing down. In this captivating documentary portrait, the passionate environmentalist's legacy lecture is entwined with candid interviews in which he reflects on his life and shares deeply personal stories, revealing a side previously unseen.
Good Neighbours -- Jacob Tierney, Canada
World Premiere
Director Jacob Tierney (The Trotsky) returns with an innovative and unsettling thriller about some very strange people living in the same apartment building in Montreal's Notre-Dame-de-Grâce neighbourhood. The film stars Scott Speedman, Emily Hampshire and Jay Baruchel.
Incendies -- Denis Villeneuve, Canada
North American Premiere
After their mother Nawal's death, twins Simon and Jeanne embark on a journey to the Middle East that shines a disturbing light on their mother's past and culminates in a shocking revelation. Based on the acclaimed play by Wajdi Mouawad and directed by Genie and Jutra award-winner Denis Villeneuve (Polytechnique).
Les amours imaginaires (Heartbeats) -- Xavier Dolan, Canada
English Canadian Premiere
Wunderkind filmmaker Xavier Dolan returns with his second feature – a sophisticated comedy about close friends, Francis and Marie, who pursue their mutual obsession with a young man. As they face off in competition, cracks in their friendship begin to appear with both comic and tragic results.
Repeaters -- Carl Bessai, Canada
World Premiere
Veteran director Carl Bessai returns with a tense thriller that follows three young addicts in a rehabilitation centre. Each day they live the same events over and over – a situation each responds to in radically different ways.
Trigger -- Bruce McDonald, Canada
World Premiere
Molly Parker and the late Tracy Wright form a highly dysfunctional yet endearing rock duo reuniting a decade after their band called it quits. Directed by Bruce McDonald (Pontypool, The Tracey Fragments, Hard Core Logo, Highway 61), and written by Daniel MacIvor, the film features Sarah Polley, Don McKellar and Callum Keith Rennie.
CONTEMPORARY WORLD CINEMA
À l’origine d’un cri -- Robin Aubert, Canada
World Premiere
Three generations of men from the same family drunkenly careen across the Québécois countryside in an emotionally powerful journey through the past from one of Québec’s most intriguing young filmmakers.
MODRA -- Ingrid Veninger, Canada
World Premiere
In this authentic portrait of teenaged self-discovery, recently-dumped seventeen-year-old Lina and free spirit Leco travel to visit Lina's extended family in the quirky town of Modra, Slovakia.
A Night for Dying Tigers -- Terry Miles, Canada
World Premiere
The night before Jack goes to prison for five years, his family gets together at their ancestral home for a farewell dinner. What begins as a civil, if not joyful, reunion quickly devolves into a morally questionable whirlwind of regret, reversals, and revelations. The film stars Jennifer Beals, Gil Bellows, Kathleen Roberston, Lauren Lee Smith, Tygh Runyon and John Pyper-Ferguson.
Route 132 -- Louis Bélanger, Canada
English Canadian Premiere
A powerful drama directed by acclaimed veteran Louis Bélanger, Route 132 focuses on a man who loses a loved one and embarks on a journey in an attempt to rediscover his roots and come to terms with his grief.
Small Town Murder Songs -- Ed Gass-Donnelly, Canada
World Premiere
Ed Gass-Donnelly’s (This Beautiful City) Small Town Murder Songs mixes sexuality, religion and tradition in a Greek tragedy about repression and mistrust. The film stars Peter Stormare, Jill Hennessy, Aaron Poole and Martha Plimpton.
REAL TO REEL
How to Start Your Own Country -- Jody Shapiro, Canada
World Premiere
Shapiro's documentary about micro-nations, tiny countries seldom recognized by the outside world, mixes comedy and compassion with a serious analysis of the concept of statehood and citizenship.
The Man of a Thousand Songs -- William D. MacGillivray, Canada
World Premiere
Veteran East Coast filmmaker William MacGillivray returns to the Festival with this emotional, intimate and tender documentary about the life of fabled Atlantic songwriter Ron Hynes.
VISIONS
Curling -- Denis Côté, Canada
North American Premiere
Set in a village in Quebec, Denis Côté’s Curling follows inveterate loner Jean-François, a single father, and his isolated 12-year-old daughter Julyvonne. Between his unremarkable jobs, Jean-François devotes an awkward energy to Julyvonne until some unexpected events jeopardize the fragile balance of their relationship.
Trois temps après la mort d'Anna -- Catherine Martin, Canada
English Canadian Premiere
After vibrant young violinist Anna dies, her mother Françoise leaves Montreal and takes refuge at the country home of her maternal ancestors in Kamouraska. She has given up on life, but an old friend labours to revive her desire to live.
CANADIAN OPEN VAULT
A Married Couple -- Allan King, Canada
A restruck and restored version of master filmmaker Allan King's classic cinema-verité film, one of the most influential and celebrated Canadian films ever made, A Married Couple records the collapse of a middle class couple's marriage. The film is being restruck in conjunction with Zoe Druick's monograph on the film, co-published by the University of Toronto Press and TIFF.
CANADA FIRST
Daydream Nation -- Mike Goldbach, BC
World Premiere
In this striking and slyly funny debut by filmmaker Mike Goldbach, a young woman (Kat Dennings) is uprooted to a small town where her classmates seem permanently stoned, an industrial fire burns ceaselessly in the background and a killer preys on the unsuspecting populace. The film also stars Andie MacDowell, Josh Lucas, Reece Thompson and Rachel Blanchard.
Amazon Falls -- Katrin Bowen, BC
World Premiere
Characters reveal hidden depths as Katrin Bowen’s first feature tells the tale of a struggling actress named Jana. Delving into the high-stakes world of keeping up appearances for which Los Angeles is infamous, Amazon Falls crafts an intense look at dream-chasers living on the margins of Hollywood.
High Cost of Living -- Deborah Chow, QC
World Premiere
Deborah Chow’s dark drama centres on the burgeoning relationship between an unlikely pair. Nathalie (Isabelle Blais) is expecting her first child and Henry (Zach Braff) is on his way to his next drug deal. Their paths fatefully collide one night in an event that will irrevocably change their lives.
Jaloux -- Patrick Demers, QC
North American Premiere
In this psychological thriller that was improvised during its 16-day shoot, a couple trying to mend their relationship set off for a weekend in the country. When they encounter a friendly neighbour, they are too absorbed in their marital woes to see that he is not who he appears to be.
Oliver Sherman -- Ryan Redford, ON
World Premiere
Tensions arise when Sherman visits the home of Franklin, a fellow soldier who saved his life back in the war. Franklin has long since moved on – to a wife, two children and a reliable job, but the stability he has worked so hard to establish is soon threatened by Sherman’s presence. The film stars Donal Logue, Molly Parker and Garret Dillahunt.
You Are Here -- Daniel Cockburn, ON
North American Premiere
You Are Here is a smartly-crafted commentary on our modern day existence. Comprised of interconnected mini-narratives, the film’s characters find themselves trapped in bizarre social experiments of their own making. The film features Tracy Wright and Nadia Litz.
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Posted August 08, 2010 by
Road Kill (formerly Road Train), directed by Dean Francis from a story by Clive Hopkins, is a supernatural thriller about a group of teenagers menaced by a driver-less double tractor-trailer in the Australian outback. The chilling story takes four friends on "a haunted adventure that leaves much to the imagination, filled with puzzling and unsettling visions," I wrote in my review in early July. This was actor Xavier Samuel's final motion picture prior to becoming a household name after being cast as newborn vampire Riley in The Twilight Saga: Eclipse. For some, that alone may be all that needs to be said. For everyone else, though, there are so many other good reasons why this film is worthy of your time. Now you finally have the chance to find out why.
Since last fall I've been reporting on the progress of the film's road to distribution and the unique deal that distributor Lightning Media struck with Fangoria Frightfest to release the film on DVD, Video On Demand (VOD), and as a digital download.
Road Kill (along with the other seven films in the Frightfest package) is now available exclusively on DVD through Blockbuster stores and Blockbuster By Mail, as well as digitally via Blockbuster On Demand.
Click thumbnails to enlarge
Sophie Lowe as Nina
Georgina Haig as Liz
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Posted August 04, 2010 by
The 2010 Toronto International Film Festival is just over five weeks away. I've attended 47 film festivals since the start of 2006, but none as prestigious or breathtaking in scope as this one. I saw over 105 films there from 2006-2009, and many of my Top Picks from all festivals over the past few years (of over 500 in total) came from the Toronto lineup. This year's event runs from September 9-19 and is considered the top film festival in the Western Hemisphere, second in the world only to Cannes. Many films have their World or North American premieres there. Almost every major Academy Award-winning film of the past few years debuted at this festival. The number of films is expected to total over 275.
The original plan was to announce films every Tuesday. But the road to completing the TIFF lineup and announcements has taken a detour. There have been unexpected bumps along the way as films haven't been "locked down," that is, the festival cannot officially announce some titles yet. For this reason, the Midnight Madness lineup was not revealed on Tuesday, August 3 as scheduled. Instead, TIFF decided to put out a press release today with other sections.
Today's list includes 25 documentaries. This lineup (there will be more to come) is made up of 21 titles in the Real to Reel program, along with one Gala, two docs in the Masters Section, and one Sprockets Family Zone selection. "I'm thrilled that we've been able to program a documentary line-up with so many acclaimed filmmakers this year," said TIFF programmer Thom Powers. "From Oscar winners and nominees to Emmy award-winners, these talented filmmakers have created works that will be debated and discussed for months to come. They reinvigorate our thinking about subjects like the war in Afghanistan, the banking crisis, and the future of energy."
Also just unveiled is the Wavelengths program of avant-garde filmmaking. "There’s much to celebrate and highlight as Wavelengths reaches its decade of existence," said TIFF Cinematheque and Wavelengths programmer Andréa Picard. "The works in this year’s programme reveal present-day day concerns like gentrification, the need to protect our natural resources, a complex global political terrain, as well as a harkening back to the origins of cinema concurrent with video’s emergence as an aesthetic medium of its own."
Previously announced titles include Score: A Hockey Musical, the Official Opening Night Film, along with over 50 Galas and Special Presentations. The next set of films will be posted on Tuesday, August 10th. Barring any more glitches, Canadian titles will be announced including one Midnight Madness selection. The other nine films in the genre lineup will be unveiled the following weekend. More Galas and Special Presentations will be announced on Tuesday, August 17 with the full lineup and schedule of invited guests revealed on Tuesday, August 24. This will be my fifth year covering TIFF and as the festival approaches I'll be posting previews of some of the films I'm most looking forward to seeing.
Ticket packages are now available for purchase by cash, debit, or Visa online at tiff.net/thefestival, by phone at 416-968-FILM or 1-877-968-FILM (Monday through Friday, 10 AM to 7 PM), or in person at the TIFF Box Office at 2 Carlton Street, West Mezzanine (Monday to Friday: 10 AM to 7 PM. The Wavelengths Package can be purchased separately, and includes one ticket to each of the six screenings.
Here are the films announced today (descriptions provided by the festival):
Gala
The Promise: The Making of Darkness on the Edge of Town -- Thom Zimny, USA
World Premiere
The Promise: The Making of Darkness on the Edge of Town takes us into the studio with Bruce Springsteen and the E Street Band for the recording of their fourth album. Grammy and Emmy Award-winning filmmaker Thom Zimny has collaborated with Springsteen on this documentary, gaining access to never before seen footage shot between 1976-1978, capturing home rehearsals and recording sessions that allow us to see Springsteen’s creative process at work.
Masters
Erotic Man -- Jørgen Leth, Denmark
World Premiere
Danish master Jørgen Leth travels the globe in this sensual, provocative and sometimes autobiographical essay film about a man searching … searching the world for the nature of the erotic.
Nostalgia for the Light -- Patricio Guzmán, France/Germany/Chile
North American Premiere
In Chile's Atacama Desert, astronomers peer deep into the cosmos in search for answers concerning the origins of life. Nearby, a group of women sift through the sand searching for body parts of loved ones, dumped unceremoniously by Pinochet’s regime. Master filmmaker Patricio Guzmán contemplates the paradox of their quests.
Real to Reel
ANPO -- Linda Hoaglund, Japan/USA
World Premiere
ANPO depicts resistance to U.S. military bases in Japan through an electrifying collage of paintings and photographs, as well as animated, narrative and documentary films by Japan’s foremost contemporary artists.
Armadillo -- Janus Metz, Denmark
North American Premiere
Winner of Cannes Critics Week, Armadillo is a harrowing portrayal of the current conflict in Afghanistan. The film follows a contingent of Danish troops into the chaos of combat in a way that stirs debate over the rules of engagement.
Boxing Gym -- Frederick Wiseman, USA
North American Premiere
Documentary master Frederick Wiseman explores the world of a boxing gym in Austin, Texas, dwelling on the discipline of training as people from all walks of life aspire to reach their personal best.
Cave of Forgotten Dreams -- Werner Herzog, USA
World Premiere
Werner Herzog gains exclusive access to film inside the Chauvet caves of southern France, capturing the oldest known pictorial creations of humankind in their astonishing natural setting. He puts 3-D technology to a profound use, taking us back in time over 30,000 years.
Client 9: The Rise and Fall of Eliot Spitzer -- Alex Gibney, USA
World Premiere
Investigating the sex scandal that forced New York’s Governor to resign, Oscar-winning director Alex Gibney gains revelatory interviews from Spitzer, his most frequent escort and his Wall Street enemies that bring new perspective on his downfall.
Cool It -- Ondi Timoner, USA
World Premiere
Award-winning filmmaker Ondi Timoner trains her camera on Bjorn Lomborg, the controversial author of “The Skeptical Environmentalist,” who takes on the issue of climate change, challenging the status quo, and pointing toward new science and technology that might hold the solutions for our future.
The Game of Death -- Christophe Nick & Thomas Bornot, France
North American Premiere
This documentary examines the idea of the limits of obedience and punishment. Based on an experiment conducted in the sixties, the setting is a modern television game show where we see how far people will go to inflict pain on a contestant who stands to win one million dollars.
Genpin -- Naomi Kawase, Japan
World Premiere
A serene observation of women giving birth at the clinic of Dr. Tadashi Yoshimura who has spent 40 years on the path of natural childbirth, Genpin is Naomi Kawase's special meditation on life and on the unshakable bond between mother and child.
Guest -- Jose Luis Guerin, Spain
North American Premiere
Filmmaker Jose Luis Guerin documents his experience during a year of travelling as a guest of film festivals to present his previous film. What emerges is a wonderfully humane and sincere portrayal of the people that he meets when he goes off the beaten track in some of the world's major cities.
Inside Job -- Charles Ferguson, USA
North American Premiere
An in-depth exploration of what caused the financial crisis from the Oscar-nominated director of No End in Sight, highlighting failures in business, government and academia.
Machete Maidens Unleashed! -- Mark Hartley, Australia
International Premiere
From cult cinema documentary director Mark Hartley (Not Quite Hollywood) comes this account of the wild and unruly world of genre filmmaking in the Philippines when the country was a back-lot for a bevy of B-movie mavericks and cinema visionaries.
Mother of Rock: Lillian Roxon -- Paul Clarke, Australia
International Premiere
Witness to New York's infamous punk scene, Lillian Roxon chronicled the movement during the 1960s and 70s. Roxon mingled with the likes of John and Yoko, the Velvet Underground and Janis Joplin and was one of the first on the scene to champion the work of Bob Dylan, Jimi Hendrix and the Doors.
Pink Saris -- Kim Longinotto, UK
World Premiere
Acclaimed director Kim Longinotto is often drawn to tough women. Now she follows Sampat Pal Devi, the leader of the “Pink Gang,” who brings her own brand of justice to the streets of Uttar Pradesh, India, combating violence against women.
The Pipe -- Risteard Ó Domhnaill, Ireland
International Premiere
Irish farmers and fisherman rise up in protest when Shell tries to build a pipeline for natural gas through their county. The local confrontation reflects an international concern for how energy companies affect the environment and communities.
Precious Life -- Shlomi Eldar, Israel
International Premiere
With the help of a prominent Israeli journalist, Precious Life chronicles the struggle of an Israeli pediatrician and a Palestinian mother to get treatment for her baby, who suffers from an incurable genetic disease. Each must face their most profound biases as they inch towards a possible friendship in an impossible reality.
The Sound of Mumbai: A Musical -- Sarah McCarthy, United Kingdom
North American Premiere
For one emotional night, a group of children living in a slum in Mumbai, India, get a chance to experience a different world as they perform The Sound of Music with a classical orchestra, fostering hopes that it could change their lives.
Tabloid -- Errol Morris, USA
World Premiere
The director of The Thin Blue Line and the Academy Award®-winning The Fog of War tells the story of a former Miss Wyoming whose quest for one true love led her across the globe and onto the pages of tabloid newspapers.
Tears of Gaza -- Vibeke Løkkeberg, Norway
World Premiere
A powerful and emotionally devastating record of the impact the 2008-2009 bombings of Gaza had on the civilian population.
When My Child is Born -- Guo Jing & Ke Dingding, China
World Premiere
When a child is born, nothing is ever going to be the same. A journey into the everyday life of young university teachers and researchers up against an unexpected pregnancy, as well as a brilliant document on the challenges of being an academic suspended between modernization and tradition, love, career and family ties in ever-mutating contemporary China.
Windfall -- Laura Israel, USA
International Premiere
After wind turbines are proposed for installation in upstate New York, the community’s excitement turns to suspicion over what the project entails. This eye-opening story exposes the dark side of wind energy development and the potential for financial scams.
!Women Art Revolution – A Secret History -- Lynn Hershman Leeson, USA
World Premiere
Filmed over four decades, this inspiring cultural history tracks the struggles and breakthroughs of women artists from Judy Chicago to Guerilla Girls to Miranda July and more, packed with rare archival footage and overflowing with bold art.
Sprockets Family Zone
Make Believe -- J. Clay Tweel, USA
International Premiere
Join a group of dedicated teen magicians as they amaze audiences by performing seemingly impossible feats while they pursue their dream of becoming the Teen World Champion Magician.
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Wavelengths 1: Soul of the City
As the pace of the contemporary urban experience grows faster and the world becomes increasingly fractured, artists are documenting the vestiges and layers revealed in flux; global updates on the city symphony.
Tomonari Nishikawa’s Tokyo-Ebisu (Japan) is a 16mm in-camera patchwork constructed from multiple viewpoints from the platforms of Tokyo’s busiest railway line, Yamanote, and a masking technique which exposes 1/30th of a frame 30 times in order to capture an image of spectral apparitions. The Soul of Things (U.S.A) from Dominic Angerame presents luscious chiaroscuro images of the construction and destruction of modern structures exposing their inner soul. From Thom Andersen, director of Los Angeles Plays Itself, Get Out of the Car (U.S.A.) is a city symphony exploring Los Angeles' gentrification through a thoughtful montage of façades and a playful excursus through its musical history. Callum Cooper’s Victoria, George, Edward & Thatcher (United Kingdom) is an ecstatic, taxonomic montage-animation of images of London row-houses shot with an iPhone. With sonic dislocation and frame by frame animation, Eriko Sonoda's Landscape, semi-surround (Japan) revels in the afterglow of memory. Through a slideshow of abandoned homes and an apocalyptic tale inspired by a massacre in Gaza in the summer of 2006, Basma Al-Sharif’s Everywhere Was the Same (Palestine/Egypt) recounts a city mired and mutilated. Oliver Husain’s Leona Alone (Canada) aesthetically intervenes in a historic Toronto neighbourhood cum suburb, offering gentrification a more wistful look.
Wavelengths 2: Plein-Air
As with painting, natural light and colour are inexhaustible sources of inspiration for film and video artists, whose plein-air shooting radically transforms our scenic views, offering a stirring ephemerality and, in some cases, a poignant intimacy.
In Vincent Grenier’s Burning Bush (Canada/U.S.A.), a virtuosic use of video sets a burning bush alight with crimson colour and spiritual flight. Kaleidoscopic colour, parenting and art-making coalesce in John Price’s domestic life frieze Home Movie (домашнее кино) (Canada), an extended portrait of his children captured with an old Russian 35mm camera and a variety of expired film stock. Ouverture (Canada/France) by Christopher Becks is a serene, yet kinetic in-camera meditation on an old barn in Normandy. Philipp Fleischmann’s Cinematographie (Austria) reinvents the filmstrip by way of an astonishing 360 degree camera obscura construction, which allows for a continuous image to emerge like a scroll. Recently blown-up to 16mm from its original super 8mm, Helga Fanderl’s intimate triptych, Portrait, Tea Time, Red Curtain (Portrait, Teetrinken, Roter Vorhang) (Germany) is a tender depiction of a love affair.. Anne Truitt, Working (U.S.A.) is a portrait of the Minimalist painter and sculptor elegantly observed by Jem Cohen. Madison Brookshire’s Color Films 1 & 2 (U.S.A.) close the programme with winsome wavelength compositions of light.
Wavelengths 3: Ruhr
Exchanging his 16mm Bolex for a high-definition video camera, and straying from his native soil, James Benning heads to Germany with Ruhr (Germany/U.S.A.). Using his medium much like a painter would, Benning creates a monumental and surprising portrait of the Ruhr Valley, the largest urban agglomeration in Germany known for its heavy industry. Split into two parts, with six long takes in the first section and one masterful hour-long take in the second, Benning turns his mathematician’s eye toward the area’s industrial sublime, reinvigorating our viewing experience along the way.
Wavelengths 4: Pastourelle
Nathaniel Dorsky is one of the most gifted 16mm filmmakers of our time and was recently voted “The Best Experimental filmmaker of the Decade” by a poll conducted by Film Comment magazine. Suffused with longing, Dorksy’s three latest films, Compline, Aubade and Pastourelle (U.S.A.) demonstrate a devotional cinema wherein the plasticity of the medium is met by the artist’s consummate expression. Arresting in its twilight beauty and filled with beguiling apparitions, Compline is the final film Dorsky was able to shoot on Kodachrome, his preferred and longtime-used film stock. Aubade, which is a poem evoking daybreak, signals a new beginning, with his shooting on colour negative. Glimpses of Paris – the abstraction of its flickering neon signs, the elegance of its views - appear in both Aubade and Pastourelle, the latter presented here as a World Premiere. The programme concludes with T. Marie’s wondrous digital triptych, Water Lillies (U.S.A.), which evokes Monet’s famous late Impressionist series by meticulously employing the inherent aesthetisizing properties of pixels, working with time and luminosity.
Wavelengths 5: Blue Mantle
The ocean has always been a mythic source of life, as much as it has a legendary call to death.
In the mysterious and melancholic Atlantiques (Senegal/France), winner of the International Film Festival Rotterdam’s Tiger Award for Best Short Film) by Mati Diop, a young man speaking in hushed tones describes his high-seas odyssey to friends huddled around a campfire in Dakar. Faint illuminations cast through an ornate gateway to a train platform in an abandoned station from Buffalo’s glory days create hazy, elegiac stained-glass effects, or the blurred vision of escape and disappearance in Eve Heller’s One (Austria); the first roll of film she ever shot, recently revisited and blown-up to 35mm. Resuscitated archival footage of a tragic event is met with contemporary prophecy in Kevin Jerome Everson’s enigmatic 753 McPherson Ave. (U.S.A.). Rebecca Meyers’ blue mantle (U.S.A.) is an ode to the ocean, intercutting between the mesmeric sea with its glistening, beckoning waters and various representations of the deep. Meyers crafts an ambitious treatise buoyed by the breadth of its cast. The apocalyptic sublime of J. M. W. Turner’s 1840 masterpiece The Slave Ship, with its fiery conflagration and strewn debris amid wild waters, is the source for T. Marie’s time-based pixel painting-film Slaveship (U.S.A.). A languorous, searing abstraction with a hot palette updates the classic scene in reference to today’s skewed social hierarchy and the selling of human life. Hell Roaring Creek (U.S.A.) is the latest film by experimental anthropologist Lucien Castaign-Taylor, co-director of Sweetgrass. A static camera records the coming of day as a shepherd leads his flock of sheep across the titular stream in a prismatic, painterly pastoral.
Wavelengths 6: Coming Attractions
Early cinema confronted the spectator like no other art, beckoning a reciprocal engagement and curiosity as both spectacle and document. This programme pairs contemporary experimental works with those from a hundred years ago when cinema itself was a grand experiment.
Celebrated Italian artist Paolo Gioli returns to a tabula rasa with his handmade cameras allowing him to exploit and fashion film’s reproductive means. The exhilarating Photo Finish Figures (Il Finish delle figure) (Italy) relays a sense of the contemporary, sensory “photo-finished” experience using a 35mm stills camera and various masking devices. Ken Jacobs’ The Day was a Scorcher (U.S.A.) sees the Jacobs clan vacationing in Italy in stroboscopic postcards pulsing amid Roman ruins. Then to Torino in 1909, for turn-of-the-century postcards in which a bunch of bambini-in-a-barrel pucker up for the camera, blowing kisses, some through tears of terror, all’italiana in Concorso di bellezza fra bambino a Torino. In Friedl vom Gröller’s Delphine de Oliveira (Austria), a placid young woman is filmed in a Parisian courtyard. Her belle laide looks convey paradoxical and untold mysteries, while a mise-en-abyme furthers the peculiar attraction. Jonas Mekas in Kodachrome Days (U.S.A.) is another timepiece comprised of family photos resuscitated through digital technology, whose pulse harkens back to proto-cinematic devices, giving Mekas an air of a trickster like Segundo de Chomón’s Le Roi des dollars from 1905. (France). Peter Tscherkassky's Coming Attractions (Austria) is a sly, sartorial comedy masterfully mining the relationship between early cinema and the avant-garde, by way of fifties era advertising. With references to Méliès, Lumières, Cocteau, Léger, Chomette, the film playfully explores cinema's subliminal possibilities using an impressive arsenal of techniques like solarization, optical printing and multiple exposures. Completing the evening’s attractions is a selection from EYE Film Institute Netherlands’ Bits and Pieces project (Netherlands), which restores and compiles “anonymous, unidentified or otherwise interesting fragments”, saving them from oblivion for our viewing pleasure. The archival prints will be presented with live piano accompaniment by William O’Meara.
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Posted July 29, 2010 by
The 5th Annual Toronto After Dark Film Festival takes place from August 13-20. Think of it as the appetizer for Midnight Madness, the nightly screenings which are the genre fans' main course at the Toronto International Film Festival come September. All TADFF screenings are held at the Bloor Cinema. "Toronto After Dark Film Festival is one of the world’s leading showcases of new horror, sci-fi, action and cult films," the Festival said in a statement. "The critically acclaimed annual event, now in its 5th Year, brings attention to thrilling new movies from around the world, including many award-winning features and shorts. Last year’s festival was attended by a record 9,000 enthusiastic film fans and over 100 members of press and industry. In a poll of local filmgoers, Toronto After Dark was also voted Runner-Up for Best Film Festival in the City."
Here is the official announcement:
OPENING CREATURE FEATURE
We open the festival on a hugely crowd-pleasing note with the International Premiere of the hilarious new monster comedy, THE LAST LOVECRAFT (Fri, Aug 13, 7pm), a story about a group of social misfits battling an assortment of sea monsters trying to take over the earth!
ZOMBIES WELCOME
This year’s ever-popular Zombie Appreciation Night, where those dressed as the undead get a special deal on ticket prices, features a double helping of fun zombie carnage: DOGHOUSE (Sat, Aug 14, 7pm), the riotous zombie comedy that took Britain by storm last year is followed by the deranged zombie action flick EVIL IN THE TIME OF HEROES (Sat, Aug 14, 9.45pm) which features none other than Billy Zane as an immortal Greek zombie killer!
JAPANESE TREATS
Fans of outrageous Japanese genre cinema will also be delighted with a double dose of cinematic mayhem this year, in the form of the splatterific sci-fi horror action mashup ROBOGEISHA (Sun, Aug 15, 7pm) and the equally mad and bloody fight sequences that make up much of ALIEN VS NINJA (Mon, Aug 16, 9.45pm) a film that completely delivers on its title!
SCARES IN THE DARK
Those looking for a good fright should check out the hotly anticipated Eli Roth produced new scarefest, THE LAST EXORCISM (Mon, Aug 16, 7pm), as well as the welcome return of our favourite posse of Thai horror filmmakers with five new tales of of fear set to make fans jump out of their seats in PHOBIA 2 (Tue, Aug 17, 7pm)! The creepy new sci-fi thriller CARGO (Sun, Aug 15, 4.15pm) also brings its share of chills, but this time the outbreak of fear takes place on a deep space voyage.
NEW BRITISH INVASION
This year Toronto After Dark showcases three new flicks from some of Britain’s most talented genre filmmakers: whether it’s Neil Marshall’s brutal Roman action piece CENTURION (Wed, Aug 18, 7pm), Philip Ridley’s demonic thriller HEARTLESS (Wed, Aug 18, 9.45pm) or Christopher Smith’s medieval witchcraft tale BLACK DEATH (Thu, Aug 19, 7pm), there’s something to delight any fan who likes their Brit flicks on the dark side.
EXTREME CAUTION HORROR
We feel I SPIT ON YOUR GRAVE (Thu, Aug 19, 9.45pm), Anchor Bay’s hugely anticipated and incredibly graphic remake of the already notoriously violent cult classic of the same name, deserves a category unto itself. Don’t say we didn’t warn you!
CULT DISCOVERIES
A fantastic eclectic cast (Natasha Lyonne, Thomas Dekker, Noah Segan, Mink Stole, Peaches Christ, Elvira) chew all kinds of scenery in the velvet curtain movie theatre set cult horror flick ALL ABOUT EVIL (Tues, Aug 17, 9.45pm) that will seem be perfect viewing fare at our very own cult venue, the Bloor Cinema! While a stoner comedy may not seem like the most obvious fit for Toronto After Dark, when you see Adrien Brody’s crazed performance as drug dealer Psycho Ed, amongst too many WTF moments to mention in the Sundance hit HIGH SCHOOL (Sun, Aug 15, 9.45pm), you’ll see why we programmed this offbeat piece of cinematic madness!
BIZARRE HORROR TO CLOSE THE FEST
Toronto After Dark celebrates the end of its 5th Year on a wonderfully bizarre note: to start with we treat fans with RUBBER (Fri, Aug 20, 7pm), the tale of a Killer Tire with feelings which was perhaps the most talked about horror film at the Cannes Film Festival this year! Then things get even freakier, with our Closing Gala, THE HUMAN CENTIPEDE (Fri, Aug 20, 9.45pm) a twisted tale of one scientist’s quest to perfect a disgusting surgical procedure. The film has grossed out fans at festival screenings across the globe, ignited a frenzy on discussion boards and YouTube (two million views of the trailer and counting), but no-one has dared to screen the film in Toronto… until now!
PLUS: INCREDIBLE SHORTS, GUESTS, PARTIES, PUB NIGHTS!
While the Feature Films at Toronto After Dark typically take centre stage, be sure to also check out SHORTS AFTER DARK (Sat, Aug 14, 4.15pm), a kick-ass collection of outstanding new genre short films from around the world, as well as CANADA AFTER DARK homegrown mini-gems that screen as the opening acts for all our features. We also expect a number of FILMMAKER GUESTS to be in attendance to introduce their films and host Q&As with fans and join us at our SOCIAL EVENTS including After Parties and nightly Pub Socials (details to be announced closer to the festival).
FESTIVAL SCHEDULE, BOX OFFICE, FACEBOOK EVENT PAGE
Fans can scan all the films screening at Toronto After Dark 2010 in date order at the FESTIVAL SCHEDULE and buy tickets and passes to the festival at the BOX OFFICE PAGE which is NOW LIVE! If you’re attending, don’t forget to also RSVP your attendance at the 2010 EVENT PAGE on Facebook and invite your friends to join you for all the fun!
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Posted July 29, 2010 by
NOTE: Box office totals for The Twilight Saga: Eclipse from 6/30 - 7/15 are posted HERE. UPDATE THURSDAY, JULY 29 4:30 PM:
Theater counts for the week of Friday, July 30 - Thursday, August 5 reflect a decrease of 787 for The Twilight Saga: Eclipse to 2,334 locations. It drops from #5 to #9 behind Cats & Dogs: The Revenge of Kitty Galore opening at 3,705 locations, Salt with 3,612 (no change), Despicable Me with 3,594 (loss of 6), Inception with 3,545 (loss of 247), Dinner for Schmucks opening at 2,911 locations, Charlie St. Cloud opening at 2,720, Ramona and Beezus with 2,719 (no change), and The Sorcerer's Apprentice with 2,524 (loss of 980).
UPDATE THURSDAY, JULY 29:
Box office numbers are in for Wednesday, July 28. The Twilight Saga: Eclipse took in another $1,063,719 from 3,121 locations for a per theater average of $341 representing a decrease of 7.8% from Tuesday. This gives the film a cumulative domestic total of $283,126,985 after 29 days in release. Adding in overseas returns of $326.4M gives Eclipse a current worldwide total of $609,526,985.
It stays in seventh place behind Inception with $5,522,151 at 3,792 locations for a per theater average of $1,456 and a domestic cumulative total of $160,539,271 after 13 days in release, Salt with $3,645,745 at 3,612 locations, Despicable Me with $3,311,405, The Sorcerer's Apprentice with $1,193,167, Toy Story 3 with $1,314,743, and Ramona and Beezus with $1,201,422. Rounding out the top 10 behind Eclipse are Grown Ups with $971,895, The Last Airbender with $516,848, and Predators with $370,701. Indie drama The Kids Are All Right is in 11th place with $303,643 from just 201 locations for a per theater average of $1,511, the #1 average of the top 14 films. It's earned $5,803,961 on a budget of $4M after 20 days.
For those comparing the films in The Twilight Saga, it should be noted that Eclipse is staying ahead of New Moon in cumulative domestic totals over time. At this point in its release history (after 29 days) New Moon had taken in $271,578,179. Eclipse is now at $283,126,985. Both films hit the $250M mark on the 16th day.
UPDATE WEDNESDAY, JULY 28:
Box office numbers are in for Tuesday, July 27. The Twilight Saga: Eclipse took in another $1,153,384 from 3,121 locations for a per theater average of $370, representing an increase of 6.5% from Monday. This gives the film a cumulative domestic total of $282,063,266 after 28 days in release. Adding in overseas returns of $326.4M gives Eclipse a current worldwide total of $608,463,266.
It stays in seventh place behind Inception with $6,068,219 at 3,792 locations for a per theater average of $1,600 and a domestic cumulative total of $155,017,120, Salt with $4,378,771 at 3,612 locations, Despicable Me with $3,617,335, The Sorcerer's Apprentice with $1,381,045, Toy Story 3 with $1,378,846, and Ramona and Beezus with $1,355,861. Rounding out the top 10 behind Eclipse are Grown Ups with $1,066,380, The Last Airbender with $589,055, and Predators with $404,339. Indie drama The Kids Are All Right is in 11th place with $319,681 from just 201 locations for a per theater average of $1,590, second only to Inception of all films measured. It's earned $5,500,318 on a budget of $4M after 19 days.
UPDATE TUESDAY, JULY 27:
Box office numbers are in for Monday, July 26. The Twilight Saga: Eclipse took in another $1,082,620 from 3,121 locations for a per theater average of $347, representing a drop of 46.8% from Sunday. This gives the film a cumulative domestic total of $280,909,882 after 27 days in release. Adding in overseas returns of $326.4M gives Eclipse a current worldwide total of $607,309,882.
It moves up from eighth to seventh place behind Inception with $6,065,477 at 3,792 locations for a per theater average of $1,600 and a domestic cumulative total of $148,948,901, Salt with $4,122,637 at 3,612 locations, Despicable Me with $3,132,225, The Sorcerer's Apprentice with $1,180,057, Toy Story 3 with $1,171,706, and Ramona and Beezus with $1,125,361. Rounding out the top 10 behind Eclipse are Grown Ups with $938,564, The Last Airbender with $535,407, and Predators with $420,728. Indie drama The Kids Are All Right is in 11th place with $270,688 from just 201 locations for a per theater average of $1,347, second only to Inception of all films measured. It's earned $5,180,637 on a budget of $4M after 18 days.
UPDATE MONDAY, JULY 26 4:00 PM:
ACTUALS ARE IN: The final domestic box office numbers for its fourth weekend show that The Twilight Saga: Eclipse finished eighth with $7,186,170 from 3,121 locations for a per theater average of $2,303. This represents a decrease of 46.5% from the previous weekend of July 16-18. The film's domestic cumulative total is now $279,827,262 through its first 26 days of release. This is the official tally which, including the actual numbers for Friday-Sunday, has been revised slightly upward by $53,262 from the previously announced $279,674,000. It has now earned $326.4M overseas, giving Eclipse a current worldwide total of $606,227,262.
It falls from fourth to eighth place behind Inception, which drops 32% but stays on top in its second weekend with $42,725,012 at 3,792 locations for a per theater average of $11,267 and a domestic cumulative total of $142,883,424, Salt with $36,011,243 in its opening weekend at 3,612 locations, Despicable Me with $23,689,060, The Sorcerer's Apprentice with $9,651,495, Toy Story 3 with $8,917,512, Ramona and Beezus opening with $7,810,481, and Grown Ups with $7,428,742. Rounding out the top 10 behind Eclipse are The Last Airbender with $4,217,021 and Predators with $3,120,656. Indie drama The Kids Are All Right is in 11th place, increasing a whopping 143.8% after adding 163 locations for a total of 201. It took in $2,594,758 for a per theater average of $12,909, far surpassing any other film in the top 15. It's earned $4.9M on a budget of $4M after three weeks.
The daily breakdown, with percent change from the previous day, includes Friday's $2,352,457 for a per theater average of $754 (+24.6%), Saturday's $2,760,065 for a per theater average of $884 (+17.3%), and Sunday's $2,073,648 for a per theater average of $664 (-24.9%). Overall, the 3-day weekend of July 23-25 was down 46.5% from the 3-day weekend of July 16-18.
Here is the reason why this overall number is higher than the one reported by the industry on Sunday. After the Saturday box office totals came in on Sunday morning, the studio estimated what Sunday would be and came up with a weekend projection. That is standard industry procedure. Of course, Sunday figures could only be estimated at that point. The actual numbers weren't known until now. The figures that come in after the weekend are usually not too far off from the estimates made over the weekend. They usually adjust slightly up or down but are rarely far off. In this case, the numbers were underestimated for all three days, meaning that the percentage increases from Thursday to Friday, Friday to Saturday, and Saturday to Sunday were all greater than anticipated. Overall the effect was positive by $53,262, so the final number is revised upward.
UPDATE SUNDAY 4:30 PM:
New overseas totals give Eclipse an additional $20.1M from 6,580 locations in 69 markets this past weekend. This brings its cumulative international total to $326.4M. Adding its domestic box office of $279.674M gives the film a new worldwide total of $606.074M.
UPDATE SUNDAY, JULY 25 1:30 PM:
Final industry estimates show The Twilight Saga: Eclipse finishing eighth in its fourth weekend, taking in an estimated $7.033M from 3,121 locations with a per theater average of $2,253 for the Friday-Sunday period. This represents a decrease of 47.6% from the previous weekend of July 16-18. The film's domestic cumulative total is now $279.674M through its first 26 days of release. Adding in overseas returns of $288M gives Eclipse a current worldwide total of $567.674M.
It falls from fourth to eighth place behind Inception, which drops 37% but stays on top in its second weekend with $43.505M at 3,792 locations for a per theater average of $11,473 and a domestic cumulative total of $143,663,000, Salt with $36.5M in its opening weekend at 3,612 locations, Despicable Me with $24.1M, The Sorcerer's Apprentice with $9.685M, Toy Story 3 with $9.03M, Ramona and Beezus opening with $8M, and Grown Ups with $7.6M. Rounding out the top 10 behind Eclipse are The Last Airbender with $4.173M and Predators with $2.85M. Indie drama The Kids Are All Right is in 11th place, increasing a whopping 148.8% after adding 163 locations for a total of 201. It took in $2.648M for a per theater average of $13,174, far surpassing any other film in the top 15. It's earned $4.963M on a budget of $4M after three weeks.
The daily breakdown, with percent change from the previous day, includes Friday's $2.329M for a per theater average of $746 (+23.3%), Saturday's $2.72M for a per theater average of $872 (+16.8%), and Sunday's $1.984M for a per theater average of $636 (-27.1%). Overall, the 3-day weekend of July 23-25 was down 47.6% from the 3-day weekend of July 16-18.
For those comparing the films in The Twilight Saga, it should be noted that Eclipse is continuing to outpace New Moon in cumulative domestic totals over time. At this point in its release history (after 26 days) New Moon had taken in $268,761,019. Eclipse is now at $279,674,000 (est). Both films hit the $250M mark on the 16th day.
These numbers are not "actuals," meaning they are only official estimates based on early reports. For those who are new to the box office numbers game, it may seem odd to have these figures when Sunday isn't even over yet. But it is standard procedure to have weekend totals announced at this time. After the Saturday box office totals come in on Sunday morning, studios always estimate Sunday and come up with a weekend projection. Therefore, Sunday and weekend figures can only be estimates at this point.
The actual numbers won't be known until Monday. But many years and literally thousands of projections have yielded formulas that allow the industry to predict fairly closely what Sunday will be based on Saturday's numbers and, therefore, what the weekend will look like. The actual numbers that come in after the weekend are usually not too far off from the estimates made on Sunday. They usually adjust slightly up or down but are rarely far off.
UPDATE SATURDAY, JULY 24 2:00 PM:
Final box office estimates are in for Friday, July 23. The Twilight Saga: Eclipse took in $2.375M from 3,121 domestic locations for a per theater average of $761. This represents a 25.8% increase from Thursday. Eclipse now has a cumulative domestic total of $275,016,000 after 24 days in release.
It drops from fourth to eighth place behind Inception, which stays at the top with $13.23M in its second weekend at 3,792 locations, Salt, which opens with $12.7M, Despicable Me with $7.325M, Ramona and Beezus with $3M on its opening day, The Sorcerer's Apprentice with $2.95M. Toy Story 3 with $2.625M, and Grown Ups with $2.4M. Adding in overseas returns of $288M gives Eclipse a current worldwide total of $563,016,000.
UPDATE FRIDAY, JULY 23:
Box office numbers are in for Thursday, July 22. The Twilight Saga: Eclipse took in another $1,888,207 from 4,001 locations for a per theater average of $472, representing an increase of 2.8% from Wednesday. This gives the film a cumulative domestic total of $272,641,092 after 23 days in release. Adding in overseas returns of $288M gives Eclipse a current worldwide total of $560,641,092.
It stays in fourth place behind Inception, Despicable Me, and The Sorcerer's Apprentice. Toy Story 3 rounds out the top five.
Here are the weekly numbers for the period from Friday, July 16 - Thursday, July 22. In its third full week, The Twilight Saga: Eclipse took in $21,269,675 from 4,001 locations for a per theater average of $5,316. This represents a 55.4% drop from the previous week. It finished in fourth place for the seven-day period behind Inception, Despicable Me and The Sorcerer's Apprentice.
UPDATE THURSDAY, JULY 22:
Box office numbers are in for Wednesday, July 21. The Twilight Saga: Eclipse took in another $1,835,913 from 4,001 locations for a per theater average of $459, representing a decrease of 12.1% from Tuesday. This gives the film a cumulative domestic total of $270,752,885 after 22 days in release. Adding in overseas returns of $288M gives Eclipse a current worldwide total of $558,752,885.
Theater counts for the week of Friday, July 23 - Thursday, July 29 reflect a decrease of 880 for The Twilight Saga: Eclipse to 3,121 locations. For the first time since it opened the film will not be in first place in its theater count. It drops to #5 behind Inception, opener Salt, Despicable Me, and The Sorcerer's Apprentice.
UPDATE WEDNESDAY, JULY 21:
Box office numbers are in for Tuesday, July 20. The Twilight Saga: Eclipse took in another $2,088,612 from 4,001 locations for a per theater average of $522, representing an increase of 2.6% from Tuesday. This gives the film a cumulative domestic total of $270,752,885 after 22 days in release. Adding in overseas returns of $288M gives Eclipse a current worldwide total of $556,864,823.
UPDATE TUESDAY, JULY 20:
Box office numbers are in for Monday, July 19. The Twilight Saga: Eclipse took in another $2,036,463 from 4,001 locations for a per theater average of $509, representing a drop of 46.7% from Sunday. This gives the film a cumulative domestic total of $266,828,360 after 20 days in release. Adding in overseas returns of $288M gives Eclipse a current worldwide total $554,828,360.
UPDATE MONDAY, JULY 19:
ACTUALS ARE IN: The final domestic box office numbers for its third weekend show that The Twilight Saga: Eclipse finished in fourth place with $13,420,480 from 4,001 locations for a per theater average of $3,354. This represents a decrease of 57.7% from the previous weekend of July 9-11. The film's domestic cumulative total is now $264,791,897 through its first 19 days of release. This is the official tally which, including the actual numbers for Friday-Sunday, has been revised slightly downward by $100K from the previously announced $264.9M. It has now earned $288M overseas, giving Eclipse a current worldwide total of $552,791,897.
Topping the charts was Inception, which opened with $62,785,337 (adjusted upward by $2.39M). Despicable Me was next with $32,803,660 (adjusted upward by $70K) followed by The Sorcerer's Apprentice with $17,619,622 (adjusted upward by $247K). Toy Story 3 rounded out the top five.
The daily breakdown, with percent change from the previous day, includes Friday's $4,463,845 for a per theater average of $1,116 (+29.8%), Saturday's $5,134,441 for a per theater average of $1,283 (+15%), and Sunday's $3,822,194 for a per theater average of $955 (-25.6%). Overall, the 3-day weekend of July 16-18 was down 57.7% from the 3-day weekend of July 9-11. For those who wish to compare, New Moon dropped 64% in its third weekend.
UPDATE SUNDAY, JULY 18 12:00 NOON:
The Twilight Saga: Eclipse finished fourth in its third weekend, taking in an estimated $13.5M from 4,001 locations with a per theater average of $3,374 for the Friday-Sunday period. This represents a decrease of 57.4% from the previous weekend of July 9-11. The film's domestic cumulative total is now $264.9M through its first 19 days of release.
Topping the charts was Inception, which opened with $60.4M. Despicable Me was next with $32.734M followed by The Sorcerer's Apprentice with $17.373M. Adding in the latest foreign box office of $219M gives the film a new worldwide cumulative total of $483.9M.
The daily breakdown, with percent change from the previous day, includes Friday's $4.5M for a per theater average of $1,125 (+30.8%), Saturday's $5.1M for a per theater average of $1,275 (+13.3%), and Sunday's $3.9M for a per theater average of $975 (-23.5%). Overall, the 3-day weekend of July 16-18 was down 48.5% from the 3-day weekend of July 9-11.
UPDATE SATURDAY, JULY 17 2:30 PM:
Final box office estimates are in for Friday, July 16. The Twilight Saga: Eclipse took in $4.5M from 4,001 domestic locations for a per theater average of $1,125. This represents a 30.8% increase from Thursday and a 59.3% decrease from last Friday. Eclipse now has a cumulative domestic total of $255.871M after 17 days in release.
It comes in fourth place behind Inception, which opens with $21.645M at 3,792 locations, Despicable Me with $10.05M, and The Sorcerer's Apprentice with $5.4M. Toy Story 3 rounds out the top five. Adding in overseas returns of $219M gives Eclipse a current worldwide total of $474.871M.
UPDATE SATURDAY, JULY 17 10:00 AM:
Early box office estimates are in for Friday, July 16. The Twilight Saga: Eclipse took in $5M from 4,001 domestic locations for a per theater average of $1,250. This gives the film a cumulative domestic total of $256.37M after 17 days in release. It comes in third place behind Inception, which opens with $21M at 3,792 locations on its way to a possible $55M weekend, and Despicable Me with $11.5M. The Sorcerer's Apprentice and Toy Story 3 round out the top five.
UPDATE FRIDAY, JULY 16 3:00 PM:
Box office numbers are in for Thursday, July 15. The Twilight Saga: Eclipse took in another $3,439,703 from 4,468 locations for a per theater average of $770, representing a decrease of 7.59% from Wednesday. This was the smallest drop of the top seven films. Eclipse now has a cumulative domestic total of $251,371,417 after 16 days in release. Adding in overseas returns of $219M gives Eclipse a current worldwide total of $470,371,417.
It moves back up to second place behind Despicable Me with $6,397,125. Moving down from second to third place is new entry The Sorcerer's Apprentice with $3,214,440. Toy Story 3 and Grownups round out the top five.
Here are the weekly numbers for the period from Friday, July 9 - Thursday, July 15. In its second full week, The Twilight Saga: Eclipse took in $47,709,040 from 4,468 locations for a per theater average of $10,678. This was the fourth highest average of the top 30. It finished in second place for the seven-day period behind Despicable Me and ahead of Predators and Toy Story 3.
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Posted July 29, 2010 by
Several film festivals top the list in terms of exposure and prestige, especially for indies. In North America, Toronto takes the prize. Overseas, Berlin and Venice are generally considered the cream of the crop. The Berlin Film Festival happened earlier this year. The 67th Venice International Film Festival will be taking place from September 1-11, just prior to (and slightly overlapping) the Toronto International Film Festival (which opens on September 9). The U.S. is represented by filmmakers Darren Aronofsky, Sofia Coppola, Vincent Gallo, Monte Hellman, Kelly Reichardt, Julian Schnabel, Robert Rodriguez, Julie Taymor, Ben Affleck, Casey Affleck, Martin Scorsese and Kent Jones, and Monica Maggioni.
The following sections were announced today, including 79 World Premieres (many of which will then make their North American or International Premieres at Toronto):
Venezia 67 - International competition of feature films competing for the Golden Lion, presented as World Premieres
Out of Competition - Important works by directors already established in past editions of the Festival
Controcampo Italiano - The new trends in Italian cinema
Controcampo Italiano Shorts - International competition of short films
Controcampo Italiano Out of Competition
IN COMPETITION
Opening Film
"Black Swan," Darren Aronofsky (U.S.)
"La Pecora Nera," Ascanio Celestini (Italy)
"Somewhere," Sofia Coppola (U.S.)
"Happy Few," Antony Cordier (France)
"The Solitude of Prime Numbers," Saverio Costanzo (Italy, Germany, France)
"Silent Souls," Aleksei Fedorchenko (Russia)
"Promises Written in Water," Vincent Gallo (U.S.)
"Road to Nowhere," Monte Hellman (U.S.)
"Balada Triste de Trompeta," Alex de la Iglesia (Spain, France)
"Venus Noir," Abdellatif Kechiche (France)
"Post Mortem," Pablo Larrain (Chile, Mexico, Germany)
"Barney's Version," Richard J. Lewis (Canada, Italy)
"We Believed," Mario Martone (Italy, France)
"La Passione," Carlo Mazzacurati (Italy)
"13 Assassins," Takashi Miike (Japan)
"Potiche," Francois Ozon (France)
"Meek's Cutoff," Kelly Reichardt (U.S.)
"Miral," Julian Schnabel (U.S., France, Italy, Israel)
"Norwegian Wood," Tran Anh Hung (Japan)
"Attenberg," Athina Rachel Tsangari (Greece)
"Detective Dee and the Mystery of Phantom Flame," Tsui Hark (China)
"Three," Tom Tykwer (Germany)
OUT OF COMPETITION
Opening Night Tribute to Bruce Lee
"The Return of Chen Zhen," Andrew Lau (China, Hong Kong)
Opening Night Midnight Movie
"Machete," Robert Rodriguez (U.S.)
Closer
"The Tempest," Julie Taymor (U.S.)
Homage to Vittorio Gassman
"Vittorio racconta -- Una vita da Mattatore," Giancarlo Scarchilli (Italy)
"The Town," Ben Affleck (U.S.)
"I'm Still Here: the Lost Year of Joaquin Phoenix," Casey Affleck (U.S.)
"Sorelle Mai," Marco Bellocchio (Italy)
"Niente Paura -- Come siamo come eravamo e le canzoni di Luciano Ligabue," Piergiorgio Gay (Italy)
"Dante Ferretti -- Production Designer," Gianfranco Giagni (Italy)
"Notizie degli Scavi," Emidio Greco (Italy)
"The Last Movie" (1971), Dennis Hopper
"Gorbaciof," Stefano Incerti (Italy)
"That Girl in Yellow Boots," Anurag Kashyap (India)
"Showtime," Stanley Kwan (China)
"Sei Venezia," Carlo Mazzacurati (Italy)
"Zebraman" (2004), Takashi Miike (Japan)
"Zebraman 2: Attack on Zebra City," Takashi Miike (Japan)
"The Child's Eye 3D," Oxide Pang and Danny Pang (China, Hong Kong)
"Vallanzasca – Gli angeli del male," Michele Placido (Italy)
"All Inclusive 3D," Nadia Ranocchi and David Zamagni (Italy, Austria)
"Raavan" (Tamil version), Mani Ratnam (India)
"1960," Gabriele Salvatores (Italy)
"La prima volta a Venezia," Antonello Sarno (Italy)
"A Letter to Elia," Martin Scorsese and Kent Jones (U.S.)
"Shock Labyrinth 3D," Takashi Shimizu (Japan)
"L'ultimo Gattopardo: Ritratto di Goffredo Lombardo," Giuseppe Tornatore (Italy)
"Passione," John Turturro (Italy)
"Lope," Andrucha Waddington (Spain, Brazil)
"Space Guy," Zhang Yuan (China)
Golden Lion For Lifetime Achievement 2010
John Woo
"Reign of Assassins," John Woo and Su Chao-Pin (China, Taiwan, Hong Kong)
SPECIAL EVENT OUT OF COMPETITION
Jaeger-LeCoultre Glory to the Filmmaker Award -- Mani Ratnam
"Raavan" (Hindi Version) (India)
CONTROCAMPO ITALIANO
"Lost Kisses," Roberta Torre (Italy)
"20 Sigarette," Aureliano Amadei (Italy)
"Il Primo Incarico," Giorgia Cecere (Italy)
"A Woman," Giada Colagrande (Italy)
"Tajabone," Salvatore Mereu (Italy)
"Ma che storia," Gianfranco Pannone (Italy)
"Into Paradiso," Paola Randi (Italy)
CONTROCAMPO ITALIANO SHORTS
"Come un soffio," Michela Cescon (Italy)
"Sposero Nichi Vendola," Andrea Costantino (Italy)
"Bassa Marea," Roberto De Paolis (Italy)
"Achille," Giorgia Farina (Italy)
"Niente Orchidee," Simone Godano and Leonardo Godano (Italy)
CONTROCAMPO ITALIANO OUT OF COMPETITION
"Tarda Estate," Antonio Di Trapani (Italy)
"Il Loro Natale," Gaetano Di Vaio (Italy)
"Ward 54," Monica Maggioni (Italy, U.S.)
"Flaiano: il meglio e passato," Gianfranco Rolandi, Steve Della Casa
"Se hai una montagna di neve, tienila all'ombra," Elisabetta Sgarbi and Eugenio Lio (Italy)
"Fughe e approdi," Giovanna Taviani (Italy)
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Posted July 28, 2010 by
Actor Michael Welch has wowed audiences around the world as the hapless human Mike Newton in all three films in The Twilight Saga -- Twilight and The Twilight Saga: New Moon, two of the most successful motion pictures of all time, and now in The Twilight Saga: Eclipse. That film is currently on track to surpass both of its blockbuster predecessors, having taken in over $600 million globally after only 28 days.While the 23-year-old has certainly had quite a long and distinguished career on the big screen -- working on 25 feature films since the age of 10 -- he has also appeared in over 90 individual television episodes, either as guest spots or as a series regular.
Welch came to prominence as uber-nerd Luke Girardi on two seasons of Joan of Arcadia, in which he co-starred with the masterful Joe Mantegna in 45 episodes from 2003-2005.
Now he reunites with Mantegna (Special Agent David Rossi) on a new episode of Criminal Minds. The show, titled Memento Mori, will air on September 29th on the CBS network. Joan of Arcadia alum Chris Marquette, who's worked with Welch several times since then (Choose Connor, Remember the Daze), will also be appearing on the episode.
The series has been in the Nielsen Top 20 for the past two seasons and is on the DVR Top 10. Criminal Minds is produced by The Mark Gordon Company and CBS Television Studios.
Click thumbnails to enlarge
(L) Joe Mantegna and Michael Welch
(R) Welch, Mantegna, Chris Marquette
Courtesy Joe Mantegna
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Posted July 27, 2010 by
It's always nice when one of my favorite festival films is picked up for distribution. It's not just a validation of my choice -- it means that a movie I've been championing will be seen by a wider audience than those lucky enough to catch it on the festival circuit. All too often they languish on the shelf after that and enter the indie ether, never to be seen or heard from again.I attended the World Premiere of Accidents Happen at the 2009 Tribeca Film Festival and selected it as one of my Top Picks (see my review and pictures from the Q&A). It also made my year-end Top 10.
This is the kind of movie that film festivals exist for. Aussie director Andrew Lancaster's first feature stars the legendary Geena Davis (Thelma & Louise, A League of Their Own) and Joel Tobeck (Ghost Rider, 30 Days of Night), along with an ensemble of young Australians including Sebastian Gregory and then-14-year-old newcomer Harrison Gilbertson (whose next film, Blessed, was one of the most acclaimed films of the 2009-10 festival circuit). Set in a typical American suburb, the film was shot in Sydney, Australia in the summer of 2008.
Accidents Happen is one of those rare indies that combines comedy and tragedy while consistently staying true to an authentic storyline that never feels manipulative. Based on some of writer Brian Carbee's own coming-of-age memories, Accidents Happen is exquisitely executed with stunning visuals -- every detail appropriate to the moment. The vibrant lighting and affectionate cinematography, 80s soundtrack, punchy script, and frighteningly brilliant performances combine seamlessly to create a movie which will stay in your head long after leaving the theater.
It is now available on DVD at Blockbuster, Amazon, Netflix, and wherever quality DVDs are rented or sold.
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Posted July 26, 2010 by
The 2010 Toronto International Film Festival begins exactly six weeks from Thursday. I've attended 47 film festivals since the start of 2006, but none as prestigious or breathtaking in scope as this one. I saw over 105 movies there from 2006-2009, and many of my Top Picks from all festivals over the past few years came out of TIFF. This year's event runs from September 9-19 and, in my book, it's the top festival in the Western Hemisphere, second in the world only to Cannes. TIFF is ranked #3 among the Top 50 Film Festivals by the editors of indieWIRE. Many movies have their World or North American premieres there. Almost every major Academy Award-winning film of the past few years debuted in Toronto. The number of titles is expected to total over 275.
Unlike last year, when film announcements were rolled out in sections over the course of several weeks in July and August, TIFF has been keeping the lineup close to the vest. The only title which had been announced before today is the official Opening Night Film. The Midnight Madness lineup of 10 genre titles will be revealed next Tuesday, August 3rd. The list will include nine World Premieres and one North American Premiere. There will be successive announcements every Tuesday until the full schedule is revealed.
Many of the high profile titles were finally unveiled this morning at a press conference (see video) with festival co-directors Cameron Bailey and Piers Handling at the Hyatt Regency. "On the occasion of our 35th anniversary, we are thrilled to announce this selection of important and notable films,” said TIFF Director and CEO Piers Handling. "The richness and diversity of this year's Galas and Special Presentations programs reflect the abundance of exciting works from established and emerging filmmakers in the world of cinema." Cameron Bailey, Co-Director of the Toronto International Film Festival, added, "We are honored that filmmakers choose our Festival to premiere their films to the world. We look forward to introducing these films to Toronto audiences -- the most informed and enthusiastic filmgoers in the world."
The list consists of 51 films, including 15 Galas and 35 Special Presentations along with one in the Masters program. There are 25 World Premieres among them, including titles from directors Robert Redford, Michael Winterbottom, Guillaume Canet, Kiran Rao, MIke Mills, and Andrucha Waddington, with performances by Robert De Niro, Dustin Hoffman, Juliette Lewis, Helen Mirren, Ryan Reynolds, and Sam Rockwell. It is safe to say that most of the filmmakers and actors -- certainly those who are available -- will attend the festival.
This will be my fifth year covering TIFF and as the festival approaches I'll be posting previews of some of the films I'm most looking forward to seeing.
Here are the films announced today (descriptions provided by the festival):
Galas
The Bang Bang Club -- Steven Silver, Canada/South Africa
World Premiere
The Bang Bang Club was the name given to four young photographers, Greg Marinovich, Kevin Carter, Ken Oosterbroek and Joao Silva, whose photographs captured the final bloody days of white rule in South Africa and the final demise of apartheid. The film tells the remarkable and sometimes harrowing story of these young men – and the extraordinary extremes they went to in order to capture their pictures. The film stars Ryan Phillippe, Malin Akerman, Taylor Kitsch, Neels Van Jaarsveld and Frank Rautenbach.
Barney's Version -- Richard J. Lewis, Canada/Italy
North American Premiere
From producer Robert Lantos, Barney’s Version is a film based on Mordecai Richler's prize-winning comic novel. Barney Panofsky (Paul Giamatti) is a seemingly ordinary man who lives an extraordinary life. Barney’s candid confessional spans four decades and two continents, and includes three wives (Rosamund Pike, Minnie Driver and Rachelle Lefevre), one outrageous father (Dustin Hoffman) and a charmingly dissolute best friend (Scott Speedman).
Black Swan -- Darren Aronofsky, USA
North American Premiere
A psychological thriller set in the world of New York City ballet, Black Swan stars Natalie Portman as Nina, a featured dancer who finds herself locked in a web of competitive intrigue with a new rival at the company. Black Swan takes a thrilling and at times terrifying journey through the psyche of a young ballerina whose starring role as the duplicitous swan queen turns out to be a part for which she becomes frighteningly perfect. Black Swan also stars Vincent Cassel, Mila Kunis, Barbara Hershey and Winona Ryder.
Casino Jack -- George Hickenlooper, Canada
World Premiere
Based on a true story, Kevin Spacey stars as Jack Abramoff, the former high-powered lobbyist whose bribery schemes and fraudulent dealings with Indian casinos ultimately landed him in prison, and stunned the world. It remains the biggest scandal to hit Washington, D.C. since Watergate. The film also stars Barry Pepper, Kelly Preston, Rachelle Lefevre and Jon Lovitz.
The Conspirator -- Robert Redford, USA
World Premiere
While an angry nation seeks vengeance, a young union war hero must defend a mother accused of aiding her son in the assassination of President Abraham Lincoln. Directed by Robert Redford, the film stars James McAvoy, Robin Wright, Kevin Kline, Evan Rachel Wood and Tom Wilkinson.
The Debt -- John Madden, USA
North American Premiere
Helen Mirren, Jessica Chastain and Sam Worthington star in this thriller about three Israeli Mossad agents on a 1965 mission to capture a notorious Nazi war criminal. Thirty years later, secrets about the case emerge.
The Housemaid -- Im Sang-Soo, South Korea
North American Premiere
In this erotic thriller, the housemaid of an upper-class family becomes entangled in a dangerous tryst. A satirical look at class structure, reminiscent of the work of Claude Chabrol, this sexy soap opera is a story of revenge and retribution.
Janie Jones -- David M. Rosenthal, USA
World Premiere
Aspiring recording artist Ethan Brand gets a stunning surprise on the opening night of a tour – a strung out former groupie appears unexpectedly, pleading with him to care for their daughter while she pulls herself together. Enter Janie Jones.
The King's Speech -- Tom Hooper, United Kingdom/Australia
North American Premiere
The King's Speech tells the story of the man who would become King George VI, the father of the current Queen, Elizabeth II. After his brother abdicates, George ‘Bertie’ VI (Colin Firth) reluctantly assumes the throne. Plagued by a dreaded nervous stammer and considered unfit to be King, Bertie engages the help of an unorthodox speech therapist named Lionel Logue (Geoffrey Rush). Through a set of unexpected techniques, and as a result of an unlikely friendship, Bertie is able to find his voice and boldly lead the country into war.
Little White Lies -- Guillaume Canet, France
World Premiere
Despite a traumatic event, a group of friends decides to go ahead with their annual beach vacation. Their relationships, convictions, sense of guilt and friendship are sorely tested. They are finally forced to own up to the little white lies they have been telling each other. Directed by Guillaume Canet and starring: François Cluzet, Marion Cotillard, Benoît Magimel, Gilles Lellouche, Jean Dujardin, Laurent Lafitte, Valérie Bonneton and Pascale Arbillot.
Peep World -- Barry Blaustein, USA
World Premiere
On the day of their father’s 70th birthday party, four siblings come to terms with the publication of a novel written by the youngest sibling that exposes the family’s most intimate secrets.
Potiche -- François Ozon, France
North American Premiere
A bourgeois housewife (Catherine Deneuve) takes on a rough union leader (Gerard Depardieu) in François Ozon's sparkling comic war between the sexes, and the classes.
The Town -- Ben Affleck, USA
North American Premiere
The Town is a dramatic thriller about robbers and cops, friendship and betrayal, love and hope, and escaping a past that has no future. In the Boston neighbourhood of Charlestown, Doug MacCray is the leader of a crew of ruthless bank robbers. But everything changed on the gang’s last job when they took bank manager Claire Keesey hostage. Questioning what she saw, Doug seeks out Claire. As their relationship deepens, Doug wants out of this life and the town, but now he must choose whether to betray his friends or lose the woman he loves.
The Way -- Emilio Estevez, USA
World Premiere
Martin Sheen plays Tom, an American doctor who comes to St. Jean Pied de Port, France to collect the remains of his adult son, killed in the Pyrenees in a storm while walking The Camino de Santiago. Driven by his profound sadness and desire to understand his son better, Tom decides to embark on the historical pilgrimage. Along the way he learns what it means to be a citizen of the world again and discovers the difference between “The life we live and the life we choose.”
West is West -- Andy De Emmony, United Kingdom
World Premiere
Manchester, Northern England, 1976. The now much-diminished, but still claustrophobic and dysfunctional, Khan family continues to struggle for survival. Sajid, the youngest Khan, is under heavy assault both from his father's tyrannical insistence on Pakistani tradition, and from the fierce bullies in the schoolyard. His father decides to pack him off to Mrs. Khan No 1 and family in the Punjab, the wife and daughters he had abandoned 30 years earlier. The sequel to East is East, West is West is the coming of age story of both 15-year-old Sajid and of his father, 60-year-old George Khan.
Special Presentations
Another Year -- Mike Leigh, United Kingdom
North American Premiere
A happily married, middle-aged couple are visited by a number of unhappy and lonely friends who use them as confidantes. When an unmarried friend falls for their young son, they watch as events unfold. The film stars Jim Broadbent, Lesley Manville, Ruth Sheen, Peter Wight, Oliver Maltman, David Bradley, Karina Fernandez and Martin Savage.
Beginners -- Mike Mills, USA
World Premiere
When his 71-year-old father (Christopher Plummer) comes out of the closet, Oliver (Ewan McGregor) must explore the honesty of his own relationships. From the director of Thumbsucker.
The Big Picture -- Eric Lartigau, France
World Premiere
Paul Exben is a success story. He has a great job, a glamorous wife and two wonderful sons, except that this is not the life he has been dreaming of. A moment of madness is going to change his life, forcing him to assume a new identity that will enable him to live his life fully. The Big Picture, an adaptation of the novel by Douglas Kennedy, is directed by Eric Lartigau and stars Romain Duris, Marina Foïs, Niels Arestrup and Catherine Deneuve. It is produced by Pierre-Ange Le Pogam.
Biutiful -- Alejandro González Iñárritu, Spain/Mexico
North American Premiere
This is a story of a man in free fall. On the road to redemption, darkness lights his way. Connected with the afterlife, Uxbal is a tragic hero and father of two who's sensing the danger of death. He struggles with a tainted reality and a fate that works against him in order to forgive, for love, and forever. The film stars Javier Bardem.
Blue Valentine -- Derek Cianfrance, USA
Canadian Premiere
Blue Valentine is the story of love found and love lost, told in past and present moments in time. Flooded with romantic memories of their courtship, Dean and Cindy use one night to try and save their failing marriage. Ryan Gosling and Michelle Williams star in this honest portrait of a relationship on the rocks.
Brighton Rock -- Rowan Joffe, United Kingdom
World Premiere
Based on Graham Greene's 1938 novel, we follow the odd relationship between a young thug on the rise in the British underground and a tea room waitress who witnesses a crime he has committed.
Buried -- Rodrigo Cortés, Spain/USA
Canadian Premiere
When Paul Conroy (Ryan Reynolds) wakes up six feet underground with no idea who put him there or why, life for the truck driver and family man instantly becomes a hellish struggle for survival. Buried with only a cell phone and a lighter, poor reception, a rapidly draining battery and a dwindling oxygen supply become his worst enemies in a tightly confined race against time.
Conviction -- Tony Goldwyn, USA
World Premiere
Conviction is the inspirational true story of a sister’s unwavering devotion to her brother. When Betty Anne Waters’ (two-time Academy® Award winner Hilary Swank) older brother Kenny (Sam Rockwell) is arrested for murder and sentenced to life in 1983, Betty Anne, a Massachusetts wife and mother of two, dedicates her life to overturning the murder conviction.
Cirkus Columbia -- Danis Tanovic, Bosnia and Herzegovina
International Premiere
After twenty years of exile, a husband returns to his hometown in Herzegovina to settle some scores with his ex-wife, armed with a new Mercedes, a sexy new girlfriend and a mangy black cat.
Dhobi Ghat -- Kiran Rao, India
World Premiere
In the teeming metropolis of Mumbai, four people separated by class and language are drawn together in compelling relationships. Shai, an affluent investment banker on a sabbatical, strikes up an unusual friendship with Munna, a young and beautiful laundry boy with ambitions of being a Bollywood actor, and has a brief dalliance with Arun, a gifted painter. As they slip away from familiar moorings and drift closer together, the city finds its way into the crevices of their inner worlds.
Easy A -- Will Gluck, USA
World Premiere
After a little white lie about losing her virginity gets out, a clean-cut high school girl (Emma Stone) sees her life paralleling Hester Prynne’s in The Scarlet Letter, which she is currently studying in school – until she decides to use the rumour mill to advance her social and financial standing.
Henry's Crime -- Malcolm Venville, USA
World Premiere
After serving three years in prison for a bank robbery he did not commit, an amiable but aimless man decides to rob the bank for real. His plan involves infiltrating a local theatre company, but his scheme gets complicated when he falls for the company’s lead actress. The film stars Keanu Reeves, Vera Farmiga, James Caan, Fisher Stevens, Peter Stormare, Danny Hoch and Bill Duke.
The Illusionist -- Sylvain Chomet, United Kingdom
North American Premiere
From the director of The Triplets Of Belleville comes a film of grace and unique beauty. Working from a never-produced script written by Jacques Tati for his daughter, Chomet tells the story of a magician who was pushed aside by rock and roll, yet finds one young girl who appreciates his magic. The film stars Jean-Claude Donda and Eilidh Rankin.
In A Better World -- Susanne Bier, Denmark/Sweden
International Premiere
The story traces elements from a refugee camp in Africa to the grey humdrum of everyday life in a Danish provincial town. The lives of two Danish families cross each other, and an extraordinary but risky friendship comes into bud. But loneliness, frailty and sorrow lie in wait. Soon, friendship transforms into a dangerous alliance and a breathtaking pursuit in which life is at stake.
I Saw the Devil -- Kim Jee-woon, South Korea
North American Premiere
A hard-boiled thriller from Korean master Kim Jee-woon, I Saw the Devil is a tale of bloody vengeance against a dangerous psychopath who has committed a gruesome series of murders.
It's Kind of a Funny Story -- Ryan Fleck, Anna Boden, USA
World Premiere
Stressed-out teenager Craig checks himself into a mental health clinic – where he finds himself in the adult ward. Sustained by friendships on both the inside and the outside, Craig learns more about life, love and the pressures of growing up. The comedy-drama stars Keir Gilchrist, Emma Roberts and Zach Galifianakis.
Jack Goes Boating -- Philip Seymour Hoffman, USA
International Premiere
Adapted from Bob Glaudini's acclaimed Off Broadway play, Jack Goes Boating is a tale of love, betrayal, friendship and grace centered around two working-class New York City couples. The film stars John Ortiz, Daphne Rubin-Vega, Amy Ryan and Philip Seymour Hoffman, with Hoffman making his feature directorial debut.
L'Amour Fou -- Pierre Thoretton, France
World Premiere
Yves Saint Laurent built one of fashion's most celebrated empires. This moving documentary chronicles his rise, his lifelong partnership with Pierre Bergé and their decision to auction off a lifetime of precious art and objects.
The Legend of the Fist: The Return of Chen Zhen -- Andrew Lau, Hong Kong
North American Premiere
In 1920s Shanghai, hero Chen Zhen single-handedly avenges his mentor’s death by killing all the Japanese at a dojo in Hongkou, only to be showered with bullets while making his legendary flying kick. Now, years later, Chen Zhen, who is believed dead, returns in disguise to infiltrate a criminal empire and to dismantle the evil collusion that plagues the country.
Lope -- Andrucha Waddington, Brazil/Spain
World Premiere
Andrucha Waddington brings famed Spanish playwright Lope de Vega’s passionate life to the screen. The young poet returns to Madrid from war and gets his foot in the door of Madrid's most important theatre troupe – quickly charming his boss's daughter. His childhood friend, Isabel de Urbina, also falls under the spell of his poems. So much seduction eventually brings misfortune and he must flee Madrid.
Love Crime -- Alain Corneau, France
International Premiere
Dangerous Liaisons meets Working Girl in this deliciously caustic tale of office politics. Starring Kristin Scott Thomas and Ludivine Sagnier as mentor and ingénue, Love Crime is a remorseless clash of two competing egos.
Made in Dagenham -- Nigel Cole, United Kingdom
World Premiere
Sally Hawkins stars as Rita O’Grady, the catalyst for the 1968 Ford Dagenham strike by 187 sewing machinists which led to the advent of the Equal Party Act. Working in extremely impoverished conditions for long, arduous hours, the women at the Ford Dagenham plant finally lose their patience when they are reclassified as “unskilled.” With humour, common sense and courage, they take on their corporate paymasters, an increasingly belligerent local community, and finally the government itself. The film also stars Bob Hoskins, Miranda Richardson, Geraldine James and Rosamund Pike.
Miral -- Julian Schnabel, United Kingdom/Israel/France
North American Premiere
From the director of The Diving Bell and the Butterfly, Before Night Falls and Basquiat, comes Miral, the visceral, first-person diary of a young girl growing up in East Jerusalem as she confronts the effects of occupation and war in every corner of her life. Schnabel pieces together momentary fragments of Miral’s world – how she was formed, who influenced her, all that she experiences in her tumultuous early years – to create a raw, moving, poetic portrait of a woman whose small, personal story is inextricably woven into the bigger history unfolding all around her.
Never Let Me Go -- Mark Romanek, United Kingdom
World Premiere
Kathy (Carey Mulligan), Tommy (Andrew Garfield) and Ruth (Keira Knightley) spent their childhood at a seemingly idyllic boarding school. When they leave the shelter of the school, the terrible truth of their fate is revealed and they must confront the deep feelings of love, jealousy and betrayal that threaten to pull them apart.
Norwegian Wood -- Tran Anh Hung, Japan
North American Premiere
Adapted from Haruki Murakami's bestselling novel. Watanabe, a quiet and serious college student, becomes deeply devoted to Naoko, a beautiful and introspective young woman with whom he shares the tragedy of their best friend’s death. When Naoko suddenly disappears, Midori, an outgoing, vivacious and supremely self-confident girl marches into Watanabe's life. The film stars Kenichi Matsuyama, Rinko Kikuchi and Kiko Mizuhara.
Outside the Law -- Rachid Bouchareb, France/Algeria/Tunisia/Italy/Belgium
North American Premiere
Bouchareb's follow-up to Days of Glory is an epic French gangster movie in the tradition of Once Upon a Time in America. The film follows three brothers from childhood in Algeria through turbulent years in Paris, as their paths diverge towards radical politics and violent crime.
Rabbit Hole -- John Cameron Mitchell, USA
World Premiere
A family navigates the deepest form of loss in John Cameron Mitchell's screen adaptation of the Pulitzer Prize winning play by David Lindsay-Abaire. Nicole Kidman and Aaron Eckhart deliver captivating performances as a husband and wife who fight to save their marriage in the life that begins again after tragedy.
A Screaming Man -- Mahamat-Saleh Haroun, France/Belgium/Chad
North American Premiere
One of Africa's preeminent film artists, Haroun returns to themes of family and loyalty in war-torn Chad. A father and son work together at the pool of five-star hotel, but the civil war forces life-and-death choices upon them.
Stone -- John Curran, USA
World Premiere
Robert De Niro and Edward Norton deliver powerful performances as a seasoned corrections official and a scheming inmate whose lives become dangerously intertwined. Stone weaves together the parallel journeys of two men grappling with dark impulses, as the line between lawman and lawbreaker becomes precariously thin. The film also stars Milla Jovovich and Frances Conroy.
Submarine -- Richard Ayoade, United Kingdom
World Premiere
British comic Richard Ayoade delivers his hotly-anticipated feature debut Submarine. One boy must fight to save his mother from the advances of a mystic, and simultaneously lure his eczema-strafed girlfriend in to the bedroom, armed with only a vast vocabulary and near-total self-belief. His name is Oliver Tate.
That Girl in Yellow Boots -- Anurag Kashyap, India
North American Premiere
Ruth is searching for her father – a man she hardly knew but cannot forget. Desperation drives her to work without a permit, at a massage parlour, where she gives ‘happy endings’ to unfulfilled men. Torn between several schisms, Mumbai becomes the backdrop for Ruth's quest as she struggles to find her independence and space even as she is sucked deeper into the labyrinthine politics of the city's underbelly.
Tamara Drewe -- Stephen Frears, United Kingdom
North American Premiere
Based on Posy Simmonds’ beloved graphic novel. When Tamara Drewe returns to the village of her youth, life for the locals is thrown upside down. Tamara – once an ugly duckling – has been transformed and is now a minor celebrity. As infatuations, jealousies, love affairs and career ambitions collide among the inhabitants of the neighbouring farmsteads, Tamara sets a contemporary comedy of manners into play.
The Trip -- Michael Winterbottom, United Kingdom
World Premiere
Follow two good friends in this hilarious road movie as they embark on a tour of the Lake District and the Yorkshire Dales of Northern England, eating, chatting and driving each other crazy. The film stars Steve Coogan and Rob Brydon.
Trust -- David Schwimmer, USA
World Premiere
Safe and sound in their suburban home, Will and Lynn Cameron (Clive Owen and Catherine Keener) used to sleep well at night. When their 14-year-old daughter, Annie, made a new friend on-line – a 16-year-old boy named Charlie – Will and Lynn didn’t think much of it. But when Annie and Charlie make a plan to meet what happens in the next twenty-four hours changes the entire family forever. Charlie is really a 40-year-old serial pedophile (Tom McCarthy) and, once Annie’s rape comes to light, it becomes a touchstone event that reverberates through the entire family.
You Will Meet a Tall Dark Stranger -- Woody Allen, United Kingdom/USA/Spain
North American Premiere
Woody Allen's latest comic ensemble piece follows a group of Londoners struggling with failing marriages, restless libidos, the perils of aging and desires that drive a series of decisions with unforeseen consequences. The film stars Antonio Banderas, Josh Brolin, Anthony Hopkins, Gemma Jones, Lucy Punch and Naomi Watts.
Masters
Mysteries of Lisbon -- Raul Ruiz, Portugal/France
World Premiere
Based on a famous nineteenth-century Portuguese novel, Raul Ruiz's Mysteries of Lisbon follows a jealous countess, a wealthy businessman and a young orphaned boy across Portugal, France, Italy and Brazil where they connect with a variety of mysterious individuals.
Watch the press conference VIDEO.
Ticket packages are now available for purchase by cash, debit, or Visa online at tiff.net/thefestival, by phone at 416-968-FILM or 1-877-968-FILM (Monday through Friday, 10 AM to 7 PM), or in person at the TIFF Box Office at 2 Carlton Street, West Mezzanine (Monday to Friday: 10 AM to 7 PM.
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Posted July 24, 2010 by
It was over two years ago that I attended the World Premiere of Let the Right One In at the 2008 Tribeca Film Festival in New York. I wondered at the time if anyone else would ever get to see this sweet little gem from Sweden (where it was titled Låt den rätte komma in). I was at the very first press screening, which was relatively empty. My review went up long before there was any buzz about the film. I saw it again at its first public screening there and a third time after it won the Audience Award.Let the Right One In, in Swedish with English subtitles, went on to wow audiences around the world on the festival circuit and was one of the most highly acclaimed films of the past few years. Naturally, it didn't take long for Hollywood to see dollar signs, and an American version of the film was greenlighted.
Initial reaction among the film's growing legion of fans was generally negative. The conventional wisdom was that no American studio could do justice to the original and that foreign films should be allowed to stand on their own. "Moviegoers are smart enough to be able to read subtitles," critics said. But as production got underway many remained hopeful. With Matt Reeves (Cloverfield) at the helm, the film was re-titled Let Me In. Chloe Moretz was cast as Abby (who, in the meantime, kicked some ass as Hit-Girl in Kick-Ass) with Kodi Smit-McPhee as Owen. First glimpses of the completed movie have been well-received and many naysayers have now done an about-face after seeing clips at Comic-Con in San Diego.
The movie will be released through Overture Films on October 1st.
Here is the first official domestic trailer for Let Me In:
Here is the international trailer:
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Posted July 23, 2010 by
The 2010 Deauville American Film Festival will run from September 3-12. Most of the competition titles have now been announced, and they include five fantastic films I saw at festivals over the past year. The complete lineup will include over 100 films. Screenings will take place at the Deauville International Centre (C.I.D), Casino’s cinema, and Cinema Le Morny in Deauville, on the beautiful French coast.Among them are three of my Top Picks: Welcome to the Rileys (see my review from Sundance), The Myth of the American Sleepover (see my review from SXSW), and Holy Rollers (Sundance).
Here is the list of competition films announced so far (descriptions provided by the festival):
“Abel,” Diego Luna
Starring Christopher Ruíz-Esparza, Gerardo Ruíz-Esparza, José Maria Yazpik, Karina Gidi, Geraldine Alejandra, Carlos Aragon
Abel, a nine-year old boy, has stopped talking since his father left home. One morning he starts to speak again, pretending to be the head of the family. No one dares to challenge this miracle. One day a man shows up at the door: his father.
“Buried,” Rodrigo Cortés
Starring Ryan Reynolds, Ivana Miño, Stephen Tobolowsky, Samantha Mathis, Robert Paterson, José
Luis Garcia Pérez
Open your eyes. You’re in a closed space beneath 2500 pounds of Iraqi soil, have 90 minutes of oxygen left to breathe, and your only connection to the outside world is a mysterious cell phone with limited reception and battery life. Such is Paul’s fate, an American contractor in Iraq being held hostage in a box. He barely has time to figure out what’s going on. Each second is a second closer to death…”
“Cyrus,” Jay & Mark Duplass
Starring John C. Reilly, Jonah Hill, Marisa Tomei, Catherine Keener, Matt Walsh, Diane Mizota, Kathy
Ann Wittes
With John’s social life at a standstill and his ex-wife about to get remarried, the down on his luck divorcé finally meets Molly, the woman of his dreams, only to discover she has another man in her life - her son Cyrus. Before long, John and Cyrus are locked in a battle of wits for the woman they both love.
“Holy Rollers,” Kevin Asch
Starring Jesse Eisenberg, Justin Bartha, Ari Graynor, Danny Abeckaser, Q-Tip, Mark Ivanir
In the late nineties, Hasidic Jews were recruited as mules to transport without knowing it a million of ecstasy pills from Amsterdam to New York. Sam Gold, twenty years old, is one of them. Reluctantly following the path his family has chosen for him, he accepts the proposal of his neighbour Yosef to transport “medicine” in exchange for payment. Sam quickly demonstrates his business skill to his bosses, who instantly take him under their wing.
“Mother and Child,” Rodrigo Garcia
Starring Annette Bening, Naomi Watts, Kerry Washington, Samuel L. Jackson, Jimmy Smits
Karen was fourteen when she became pregnant and was forced to give her baby up for adoption. It was thirty five years ago… Today, Karen’s daughter, Elizabeth, is a brilliant lawyer. She never tried to find her biological mother’s trace until the day she expects a baby. Lucy sees her dream of adopting a child finally come true. Simultaneously confronted with key choices in their lives, these three women will see their destinies cross unexpectedly.
“The Dry Land,” Ryan Piers Williams
Starring Ryan O’Nan, America Ferrera, Wilmer Valderrama, Jason Ritter, Melissa Leo
James, a young US soldier, returns from Iraq to face a new battle - reintegrating into his small-town life in Texas. His wife, his mother and his best friend provide support, but they can’t fully understand the pain he feels since his tour of duty ended. Lonely, James reconnects with an army buddy, who provides him with compassion during his battle to process his experiences in Iraq.
“The Joneses,” Derrick Borte
Starring Demi Moore, David Duchovny, Amber Heard, Ben Hollingsworth, Gary Cole, Glenne Headly
When the Joneses move into a posh neighbourhood of an American small town, they seem to be the ideal family. Not only are they charming people, but they also have better goods and game than any other family in town. The only problem is they’re not a family: they are employees of a stealth marketing organization and they know how to make everyone else want what they’ve got…
“The Myth of the American Sleepover,” David Robert Mitchell
Starring Claire Sloma, Marlon Morton, Amanda Bauer, Brett Jacobsen, Nikita Ramsey, Jade Ramsey, Amy Seimetz, Doug Diedrich, Olivia Coté
Set against the backdrop of metro-Detroit, Maggie, Rob, Claudia and Scott are searching for love and adventure on the last night of summer. The four young people cross paths as they explore the suburban wonderland chasing first kisses, elusive crushes, popularity and parties. They are looking for the iconic teenage experience, but instead they discover the quiet moments that will later become the part of their youth.
“Two Gates of Sleep,” Alistair Banks Griffin
Starring Brady Corbet, David Call, Karen Young, Ritchie Montgomery, Lindsay Soileau, Ross Francis
After preparing for their mother’s imminent death, two brothers go on an arduous upriver journey to honour her final request.
“Welcome to the Rileys,” Jack Scott
Starring Kristen Stewart, James Gandolfini, Melissa Leo, Joe Chrest, Ally Sheedy, Tiffany Coty
While at a business convention in New Orleans, Doug Riley encounters Mallory, a young woman working in a strip club. He becomes fond of her almost like a father in substitution of his only daughter who died in a tragic accident eight years ago. This unlikely encounter shatters Doug’s couple.
“Winter’s Bone,” Debra Granik
Starring Jennifer Lawrence, John Hawkes, Kevin Breznahan, Dale Dickey, Garret Dillahunt, Sheryl Lee, Lauren Sweetser, Tate Taylor
Seventeen-year-old Ree Dolly lives alone in the Ozark woods with her brother and sister. When her father
is released from jail and disappears without a trace, she has no other choice than embarking on a mission
to find him or she will lose the family house he used as a way of securing his bail. Ree must challenge her
outlaw kin’s code of silence and face the people living in the Missouri forests.
See the festival's official site for details.
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Posted July 22, 2010 by
I had a spectacularly spooky time last fall at the Vampire Film Festival in beautiful New Orleans. We experienced the bizarre, grotesque, mysterious, and supernatural. There were fantastic films, too. Topics included ghosts, werewolves, zombies, and, of course, vampires. Entries came from around the world, including Japan, Spain, France, Italy, Norway, Austria, Australia, Canada, and the United Kingdom. In addition to its juicy international slate of over 50 films the four day event included panels, fabulous costume parties, fashion shows, and performance artists.
And now, just when you thought it was safe to come out after twilight, Vampire Fest is rising to take The Big Easy by the neck once again. The 5th Vampire Film Festival will run from October 27-31 in the historic Faubourg Marigny district of New Orleans.
Screenings will take place at the Shadowbox Theatre located at 2400 Saint Claude Avenue. "The Shadowbox is thrilled to open its doors to such an exciting and fun festival," said Richard Mayer, Shadowbox Theatre Director. "It's going to be a fantastic way to spend Halloween week!" With its electric nightlife, Gothic architecture, international cuisine, voodoo history, beautiful necropolises, and the birthplace of jazz and Anne Rice, New Orleans is a natural fit for this festival.
Filmmakers and musicians who have vampire/gothic/themed music videos or any musical work with themes of the occult including zombies, voodoo, werewolves, ghosts, or witches are encouraged to submit their work. In an effort to further expand the mythology and culture of the Vieux Carre, Vampire Fest will also show films dealing with voodoo and witchcraft.
Once again this year, the festival will conduct a YouTube Trailer Contest. Beginning next month, fans will get to screen select trailers and help determine which films play in the festival. Check out the Vampire Fest home page in early August.
Submissions are open until September 17. All deadlines and submission guidelines are now posted on the official website or Withoutabox.com.
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Posted July 21, 2010 by
We are a mere two months away from Fantastic Fest 2010, September 23-30 in rockin' Austin, Texas. This is also the location of the prestigious SXSW Film Festival, and readers of this blog know that my annual coverage of SXSW gushes with accolades for the venues there -- arguably the best in America -- the very same ones used for screenings at this festival.I've described Fantastic Fest as more of a convention -- a Comic-Con, if you will -- as opposed to a conventional "film festival." There is always a wide range of interactive activities and discussions in addition to the screenings. But those movies will surely be the main attraction, especially for this journalist, who's made no secret of his love for genre films.
The first wave of 13 titles has now been announced (descriptions provided by the festival):
Bedevilled (2010)
Director: Cheol-soo Jang, South Korea, 115 minutes
If you beat, brutalize, dehumanize and torment a country girl for her entire life, take note: when she reaches the breaking point, you'd best hide the farm implements.
Corridor (2009)
Directors: Johan Lundborg & Johan Storm, Sweden, 80 min
Lonely medical student Frank is pleased with his flat, a quiet place to focus on his coming exams. But when he meets the girl upstairs, his peace and quiet, his sanity and his possibly even his life become jeopardized.
The Dead (2010)
Directors: Howard J. Ford and Jonathan Ford South Africa, 100 min
After his plane crashes in the South African bush, Rob Freeman (Saving Private Ryan) joins forces with Prince David Osei (a superstar actor in his native Ghana) to cross the vast desert by any means necessary. A daunting task under normal circumstances becomes particularly challenging after the zombie apocalypse.
Gallants (2010)
Directors: Derek Kwok & Clement Cheng, Hong Kong, 98 minutes
The funniest, most ass-kicking, hard-rocking, pedal-to-the-metal movie of the year. It’s Cocoon with kung fu! (New York Asian Film Festival)
Golden Slumber (2010)
Director: Yoshihiro Nakamura, South Korea, 139 minutes
Last year, Yoshihiro Nakamura's Fish Story saved the world from certain annihilation and became the word-of-mouth hit of the festival. This year, Nakamura's back with another ode to the human connection, Golden Slumber, a brain-melting thriller send-up that's two parts The Big Chill, three parts Bourne Identity and a million parts awesome. (New York Asian Film Festival)
Ip Man 2 (2010)
Director: Wilson Yip, Hong Kong, 108 minutes
It's a rousing Canto-fable, a Hong Kong empowerment movie , a return to old school martial arts filmmaking with Avatar-era production values, and on its opening weekend in Hong Kong it beat Iron Man 2 at the box office like a redheaded stepchild. (New York Asian Film Festival)
Life and Death of Porno Gang (2009)
Director: Mladen Djordjevic, Serbia, 90 minutes
Adult movie director Marko steals money from his mobster producer Cane to create his masterpiece: an experimental black and white erotic horror film. When the film bombs and he can't repay his boss, he slips away with the cast and crew to produce live porno-theater in the Serbian countryside. Then it gets weird.
Outrage (2010)
Director: Takeshi Kitano, Japan, 109 minutes
Takeshi Kitano is back in classic form, directing and starring in the genre God intended for him: a ruthless, bloody and very violent yakuza crime thriller.
Rammbock (2010)
Director: Marvin Kren, Germany, 59 minutes
Hoping to rekindle the sparks with his ex-girlfriend, Michael makes a surprise visit to her apartment in the city. Bad timing. As luck would have it, this is also the same day the zombie outbreak hits Berlin.
Red Hill (2010)
Director: Patrick Hughes, Australia, 95 minutes
On his first day on the job as a rural Australian constable, Shane Cooper (True Blood star Ryan Kwanten) has a daunting assignment: face off against an escaped-convict Aboriginal tracker whose current prey is the entire Red Hill police department.
Rubber (2010)
Director: Quentin Dupieux, France/USA, 85 minutes
Quentin Dupieux (the real name of legendary DJ Mr. Ozio) has directed my hands-down favorite film of Cannes 2010. Robert, a very disgruntled psychokinetic automobile tire explodes the heads of birds, beasts and humans alike on a high-desert killing spree like no other.
Sound of Noise (2010)
Directors: Ola Simonsson and Johannes Stärne Nilsson, Sweden, 102 minutes
Musical terrorists have launched a full-scale musical attack using the city - its buildings, its machinery and its ceaseless noise - as their instrument. The group's leaders are the "Bonnie and Clyde of underground rock," hell-bent to dismantle the harmony of the world with their anarchic performances.
The Violent Kind (2010)
Directors: The Butcher Brothers, USA, 95 minutes
What starts as a biker bash gone awry first gets unfathomably bloody before finally transcending into truly bizarre territory.
"Fantastic Fest is the largest genre film festival in the United States, showcasing eight days of offbeat cinema from independents, international filmmakers and major Hollywood studios," the Festival said in a statement. "The 2009 edition hosted over 70 world, U.S. and regional premieres of the latest sci-fi, horror, fantasy and cult films from around the world."
Everything you need to know about Fantastic Fest 2010 is available at the festival's official site, including the latest information on tickets and badges.
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Posted July 19, 2010 by
In June 2009 I was pleased to announce that rising star Michael Welch (Mike Newton in The Twilight Saga) would be starring in Unrequited, the first feature from Jason Epperson, runner-up on the Steven Spielberg-produced Fox reality series On The Lot. After coming in second among hundreds of would-be directors, Epperson searched for a script he could wrap his head around for his first film. He found it in Jeffrey Day and Tom Lockridge's Unrequited, a psychological thriller about an 18-year-old (Welch) who snaps after a series of setbacks. Sarah Habel and David Keith co-star.I began following the progress of the film on this blog from the moment it was cast. Produced by writer Jeff Day's Lucky Day Studios with Mark Freiberger as co-producer, Unrequited was shot in Epperson's home state of Kentucky. After post-production was completed on April 5, Arclight Films acquired the film for distribution through their Darclight label and screened it at the Cannes Film Festival and Film Market.
The U.S. Premiere of Unrequited will take place at ACEFEST 2010 (formerly the ACE Film Festival), August 20-28 at the Tribeca Cinemas in New York City. The screening will be held on Friday, August 20 at 7:20 PM. Tickets are available at the festival site.
Unrequited has an official site, a Facebook, and a YouTube channel with behind-the-scenes videos. Welch has an official site, an official MySpace, a Facebook, and Message Board.
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Posted July 16, 2010 by
NOTE: Box office totals for The Twilight Saga: Eclipse from 7/16 - 7/29 are posted HERE. UPDATE THURSDAY, JULY 15 4:30 PM:
Theater counts have been issued for the week of Friday, July 16 - Thursday, July 22. The Twilight Saga: Eclipse drops 467 locations to a total of 4,001. The film will still have the widest release ahead of Inception with 3,792 locations. In third place is The Sorcerer's Apprentice with 3,504 locations.
UPDATE THURSDAY, JULY 15 3:00 PM:
Box office numbers are in for Wednesday, July 14. The Twilight Saga: Eclipse took in another $3,722,137 from 4,468 locations for a per theater average of $833, representing a decrease of 17.5% from Tuesday. This gives the film a cumulative domestic total of $247,931,714 after 15 days in release. Adding in overseas returns of $219M gives Eclipse a current worldwide total of $466,931,714.
It falls to third place behind Despicable Me with $7,159,885 and new entry The Sorcerer's Apprentice, which opened with $3,873,997. Toy Story 3 and Grownups round out the top five.
UPDATE WEDNESDAY, JULY 14:
Box office numbers are in for Tuesday, July 13. The Twilight Saga: Eclipse took in another $4,510,548 from 4,468 locations for a per theater average of $1,010, representing an increase of 4.21% from Monday. This gives the film a cumulative domestic total of $244,209,577 after 14 days in release. Adding in overseas returns of $219M gives Eclipse a current worldwide total of $463,209,577.
It stays in second place behind Despicable Me with $8,151,220 and a domestic cumulative total of $72,073,885 after 5 days in release. Toy Story 3, Grownups, and Predators round out the top five.
UPDATE TUESDAY, JULY 13:
Box office numbers are in for Monday, July 12. The Twilight Saga: Eclipse took in another $4,328,214 from 4,468 locations for a per theater average of $969, representing a drop of 48.17% from Sunday. This gives the film a cumulative domestic total of $239,699,029 after 13 days in release. Adding in overseas returns of $219M gives Eclipse a current worldwide total $458.7M.
It stays in second place behind Despicable Me with $7,525,540 and a domestic cumulative total of $63,922,665 after 4 days in release. Predators, Toy Story 3, and The Last Airbender round out the top five.
UPDATE MONDAY, JULY 12:
ACTUALS ARE IN: The final domestic box office numbers for its second weekend show that The Twilight Saga: Eclipse finished in second place with $31,708,438 from 4,468 locations for a per theater average of $7,097. This represents a decrease of 51.09% from the previous weekend of July 2-4. The film's domestic cumulative total is now $235,370,815 through its first 12 days of release. This is the official tally which, including the actual numbers for Friday-Sunday, has been revised downward by $1.63M from the previously announced $237M. Adding in overseas returns of $219M gives Eclipse a current worldwide total $454.4M.
The daily breakdown, with percent change from the previous day, includes Friday's $11,068,640 for a per theater average of $2,477 (+39.56%), Saturday's $12,288,703 for a per theater average of $2,750 (+11.02%), and Sunday's $8,351,095 for a per theater average of $1,869 (-32.04%). Overall, the 3-day weekend of July 9-11 was down 51.09% from the 3-day weekend of July 2-4. For those who wish to compare, New Moon dropped 70% in its second weekend.
Topping the charts was Despicable Me, which opened with $56,397,125 (adjusted downward by $3.7M). Predators opened behind Eclipse with $24,760,882 (adjusted downward by $539K). Toy Story 3 and The Last Airbender round out the top five.
Here is the reason why this overall number is lower than the one reported by the industry on Sunday. After the Saturday box office totals came in on Sunday morning, the studio estimated what Sunday would be and came up with a weekend projection. That is standard industry procedure. Of course, Sunday figures could only be estimated at that point. The actual numbers weren't known until now. The figures that come in after the weekend are usually not too far off from the estimates made over the weekend. They usually adjust slightly up or down but are rarely far off. In this case, the numbers were slightly overestimated for all three days, meaning that the percentage increases from Thursday to Friday and Friday to Saturday were less than anticipated and the drop from Saturday to Sunday was greater than anticipated. So the final number is revised downward by $1.63M.
UPDATE SUNDAY, JULY 11 1:00 PM:
The Twilight Saga: Eclipse finished second in its second weekend, taking in an estimated $33.4M from 4,468 locations with a per theater average of $7,475 for the Friday-Sunday period. This increases the film's domestic cumulative total to $237M through its first 12 days of release. Topping the charts was Despicable Me, which opened with $60.1M. Predators opened behind Eclipse with $25.3M. Toy Story 3 and The Last Airbender round out the top five. Eclipse took in another $81.1M from 9,440 theaters in 63 markets for a foreign total of $219M. This gives the film a new worldwide cumulative total of $456M.
The daily breakdown, with percent change from the previous day, includes Friday's $11.1M for a per theater average of $2,484 (+40%), Saturday's $12.4M for a per theater average of $2,775 (+11.7%), and Sunday's $9.9M for a per theater average of $2,216 (-20.2%). Overall, the 3-day weekend of July 9-11 was down 48.5% from the 3-day weekend of July 2-4. For those who wish to compare, New Moon dropped 70% in its second weekend.
These numbers are not "actuals," meaning they are only official estimates based on early reports. For those who are new to the box office numbers game, it may seem odd to have these figures when Sunday isn't even over yet. But it is standard procedure to have weekend totals announced at this time. After the Saturday box office totals come in on Sunday morning, studios always estimate Sunday and come up with a weekend projection. Therefore, Sunday and weekend figures can only be estimates at this point.
The actual numbers won't be known until Monday. But many years and literally thousands of projections have yielded formulas that allow the industry to predict fairly closely what Sunday will be based on Saturday's numbers and, therefore, what the weekend will look like. The actual numbers that come in after the weekend are usually not too far off from the estimates made on Sunday. They usually adjust slightly up or down but are rarely far off.
UPDATE SATURDAY, JULY 10 4:00 PM:
Updated box office estimates are in for Friday, July 9. The Twilight Saga: Eclipse took in $11M from 4,468 domestic locations for a per theater average of $2,462. This represents a 38.7% increase from Thursday and gives the film a cumulative domestic total of $214.662M after 10 days in release. It comes in second place behind Despicable Me, which opens with $21.69M at 3,475 locations for a per theater average of $6,240. Foreign box office of $104.6M gives Eclipse a worldwide cumulative total of $319.262M.
The record for the first 10 days in release is held by The Dark Knight with $313,781,677. The Twilight Saga: New Moon is #6 with $230,947,696. Eclipse finishes at #10 with $214,662,377.
UPDATE SATURDAY, JULY 10 12:00 NOON:
Early box office estimates are in for Friday, July 9. The Twilight Saga: Eclipse took in $11.08M from 4,468 domestic locations for a per theater average of $2,479. This gives the film a cumulative domestic total of $214.74M after 10 days in release. It comes in second place behind Despicable Me, which opens with $21.75M at 3,475 locations for a per theater average of $6,258.
UPDATE SATURDAY, JULY 10 10:00 AM:
Early industry estimates predict a $35 million weekend for The Twilight Saga: Eclipse. This would put it in second place behind Despicable Me, which is expected to win with a $55-60M opening.
UPDATE FRIDAY, JULY 9:
Box office numbers are in for Thursday, July 8. The Twilight Saga: Eclipse took in $7,931,087 from 4,468 domestic locations for a per theater average of $1,775. This gives the film a cumulative domestic total of $203,662,377 after 9 days in release. It still sits in first place at the top of the charts, ahead of Toy Story 3 and The Last Airbender. Updated foreign box office of $104.6M gives Eclipse a worldwide cumulative total of $308,262,377.
The record for the first 9 days in release is held by The Dark Knight with $290,119,997. The Twilight Saga: New Moon is #5 with $222,312,298. Eclipse finishes at #9 with $203,662,377.
Here are the weekly numbers for the period from Friday, July 2 - Thursday, July 8. In its first full week, The Twilight Saga: Eclipse took in $110,917,399 from 4,468 locations for a per theater average of $24,825. Despite being the widest release, this was the highest average of all 82 films measured. It finished in first place for the seven-day period ahead of The Last Airbender and Toy Story 3.
UPDATE THURSDAY, JULY 8:
Box office numbers are in for Wednesday, July 7. The Twilight Saga: Eclipse has now surpassed $300 million worldwide. It took in another $8,781,208 from 4,468 domestic locations for a per theater average of $1,965. This gives the film a cumulative domestic total of $195,731,290 after 8 days in release. It still sits in first place at the top of the charts, ahead of Toy Story 3 and The Last Airbender. Updated foreign box office of $104.6M gives Eclipse a worldwide cumulative total of $300,331,290.
The record for the first 8 days in release is held by The Dark Knight with $261,847,503. The Twilight Saga: New Moon is #4 with $205,788,929. Eclipse finishes at #8 with $195,731,290.
Theater counts for the week of Friday, July 9 - Thursday, July 15 reflect no change for The Twilight Saga: Eclipse with 4,468 locations. The film will still have the widest release ahead of Toy Story 3 with 3,753 locations, a decline of 275. In third place is this week's widest opener, Despicable Me with 3,474 locations.
Meanwhile, there's been some confusion over why Eclipse's first two days didn't count towards its first weekend. It makes sense on the face of it, but let's look back at the last movie that opened on a Wednesday, June 30 on the eve of a 4th of July weekend, Spider-Man 2 in 2004. As you can see here, its first two days in release, Wednesday, June 30 and Thursday, July 1, aren't counted in the weekend numbers. As you can see above, there are two listings: the 3-day weekend of Friday-Sunday and the 4-day weekend of Friday-Monday (the Independence Day holiday). So they don't count the first two days it was in release as part of the weekend although, as you can see, they are included in the film's cumulative total and they are counted towards record-keeping. If there is any movie that Summit (and the media and public) should be comparing Eclipse to it should be Spider-Man 2, not New Moon.
They do tabulate records for films that open on a Wednesday or Thursday of a Monday holiday weekend. There is a 5-day holiday weekend record from Thursday-Monday for films that opened on a Wednesday or Thursday and a 6-day holiday weekend record from Wednesday-Monday for films that opened on a Wednesday. There are also 3-day (Friday-Sunday) and 4-day (Friday-Monday) records for holiday weekends, of course, as well as non-holiday records for 3-, 4-, 5-, and 6-day opening periods (and on and on...). But these are all records which would only allow Eclipse to be compared to other films which were in theaters at the time, not against films which hadn't even come out yet. Now that the film is in competition with the rest of the movie marketplace, we'll be able to begin to judge the success of the film's early days.
Then why did Summit release the film on a Wednesday? To get the jump on the competition. Most new movies open on a Friday. If Eclipse had opened the same day as all the other new holiday weekend films it would obviously have been competing with all of them. By opening earlier, on Wednesday, it only had to go up against the "old" films that were already out. There was no competition against anything new (and The Last Airbender certainly didn't give it much competition).
UPDATE WEDNESDAY, JULY 7:
Box office numbers are in for Tuesday, July 6. The Twilight Saga: Eclipse took in another $10,567,862 from 4,468 locations. This gives the film a cumulative domestic total of $186,950,082 after 7 days in release. It still sits in first place at the top of the charts, ahead of Toy Story 3 and The Last Airbender.
The record for the first 7 days in release is held by The Dark Knight with $238,615,211. The Twilight Saga: New Moon is #6 with $188,077,665. Eclipse finishes close behind at #7 with $186,950,082. So far, The Twilight Saga: Eclipse has set all-time box office records for Opening Wednesdays, Single Day Wednesday Gross (non-adjusted), and Single Day Wednesday Gross (adjusted for inflation). It is in second place for Opening Day Gross, Single Day Gross, and Non-Opening Thursday Gross. Release records include Widest Releases, Widest Independent Releases, Widest Opening Independent Releases, Widest PG-13 Rated Openings, and Widest PG-13 Rated Releases.
UPDATE TUESDAY, JULY 6:
ACTUALS ARE IN: The final domestic box office numbers for its first weekend show that The Twilight Saga: Eclipse finished in first place with $64,832,191 from 4,468 locations for a per theater average of $14,510 for the 3-day weekend of Friday, July 2 - Sunday, July 4. For the 4-day weekend of Friday, July 2 - Monday, July 5, Eclipse finished in first place with $83,637,242 from 4,468 locations for a per theater average of $18,719.
These figures include newly released official numbers (with percent increase or decrease from the previous day) of $28,153,316 (+16.3%) with a per theater average of $6,301 for Friday, $23,420,629 (-16.8%) with a per theater average of $5,242 for Saturday, $13,258,246 (-43.4%) with a per theater average of $2,967 for Sunday, and $18,805,051 (+41.8%) with a per theater average of $4,209 for Monday. This increases the film's domestic cumulative total to $176,382,220 through its first 6 days of release. This is the official tally which, including the actual numbers for Thursday-Monday, has been revised upward by $1.1M from the previously announced $175.29M. Adding in partial overseas returns of $100.2M gives Eclipse a current worldwide total $276,582,220.
The all-time record for the Independence Day weekend (Friday to Sunday) is held by Spider-Man 2 with $88,156,227, followed by Transformers with $70,502,384 and War of the Worlds (2005) with $64,878,725. Eclipse finishes fourth with $64,832,191. As I mentioned earlier, the last film that opened on a Wednesday, June 30 on the eve of a 4th of July weekend was Spider-Man 2 in 2004. That film holds the record for the first 6 days in release with $180M. For many, that was the number to beat. New Moon's first six days brought in $178.9M, placing it in 6th place overall. As it turned out, Eclipse finished in 7th place with $176,382,220.
Here is the reason why this overall number is higher than the one reported by the industry on Monday. After the Sunday box office totals came in on Monday morning, the studio estimated what Monday would be and came up with 3-day and 4-day weekend projections. That is standard industry procedure. Of course, Monday and weekend figures could only be estimated at that point. The actual Monday numbers weren't known until now. The actual numbers that come in after the weekend are usually not too far off from the estimates made over the weekend. They usually adjust slightly up or down but are rarely far off. In this case, the number was slightly underestimated, meaning that the percentage changes from one day to the next were slightly less than anticipated overall and more people went to see Eclipse than had been predicted. So the final number is revised upward by $1.1M.
UPDATE MONDAY, JULY 5:
Box office estimates are in for Sunday, July 4 and Monday, July 5. For Sunday, The Twilight Saga: Eclipse finished in first place, taking in $16.6M from 4,468 locations for a per theater average of $3,715, representing a drop of 30.5% from Saturday to Sunday. This brings its 5-day cumulative domestic total to $161M. On Monday, The Twilight Saga: Eclipse stayed in first place, taking in $13.545M from 4,468 locations for a per theater average of $3,032, representing a drop of 18.4% from Sunday to Monday. This brings its 6-day cumulative domestic total to $175.29M. Adding in partial overseas returns of $100.2M gives Eclipse a current worldwide total of $275.49M.
For the 3-day weekend of Friday, July 2 - Sunday, July 4, Eclipse finished in first place with an estimated $69M from 4,468 locations for a per theater average of $15,443. For the 4-day weekend of Friday, July 2 - Monday, July 5, Eclipse finished in first place with an estimated $82.545M from 4,468 locations for a per theater average of $18,475. In second place for the 4-day weekend was The Last Airbender with $53.15M from 3,169 locations for a per theater average of $16,772. This brings its 5-day cumulative domestic total to $70.5M.
The all-time record for the Independence Day weekend (Friday to Sunday) is held by Spider-Man 2 with $88,156,227, followed by Transformers with $70,502,384. Eclipse finishes third with $69M. As I mentioned earlier, the last film that opened on a Wednesday, June 30 on the eve of a 4th of July weekend was Spider-Man 2 in 2004. That film holds the record for the first 6 days in release with $180M. For many, that was the number to beat. New Moon's first six days brought in $178.9M, placing it in 6th place overall. As it turned out, Eclipse finished in 8th place with $175,289,978.
UPDATE SUNDAY 12:00 NOON:
Box office estimates are in for Saturday, July 3. The Twilight Saga: Eclipse finished in first place, taking in another $23.9M from 4,468 theaters for an average of $5,349. This represents a 16.1% drop from Friday to Saturday. Adding in the film's opening day box office take of $68.5M, Thursday's $24.2M, and Friday's $28.5M brings its 4-day cumulative domestic total to $145.1M.
Industry analysts are now projecting the film will take in another $16.6M today and $20M on Monday. This would give it $69M for the 3-day weekend of Friday-Sunday and $89M for the 4-day weekend (including the Monday holiday) of Friday-Monday. That would total $181M for the 6-day period of Wednesday-Monday since it's been in theaters. These numbers are lower than those estimated yesterday since the film's drop from Friday to Saturday was greater than anticipated.
UPDATE SATURDAY 8:00 AM:
Box office estimates are in for Friday, July 2. The Twilight Saga: Eclipse finished in first place, taking in another $28.6M from 4,416 theaters. Adding in the film's opening day box office take of $68.5M and Thursday's $24.2M brings its 3-day cumulative domestic total to $121.3M.
Friday's number is only an estimate for now until actual figures are released after the holiday weekend on Tuesday. The weekend projections are based on formulas that allow analysts to predict fairly closely what the weekend will look like based on the previous days' numbers and, therefore, what the weekend will look like.
UPDATE FRIDAY 11:00 PM:
As I posted earlier, Eclipse's first two days in release will not count in the official upcoming weekend numbers since a box office weekend technically begins on Friday. Instead, Wednesday and Thursday are counted as the final two days of the previous week.
The official numbers have now been released for the week of Friday 6/25 - Thursday 7/1 and, despite only having been in release the last two days of that period, Eclipse still managed to finish at #1 for the week with $92,744,978 at 4,416 theaters for an average of $21,002. Toy Story 3 was close behind with $91,274,487, which included all seven days vs. Eclipse's two days.
UPDATE FRIDAY 5:00 PM:
Final numbers are in for Thursday, July 1. The Twilight Saga: Eclipse took in another $24,211,138. Adding in the film's opening day box office take of $68,533,840 brings its 2-day cumulative domestic total to $92,744,978. This represents a 64.7% drop from Wednesday to Thursday and the film's per theater average fell from $15,519 to $5,483, but it was still good enough to be the second highest Thursday of all time (non-opening). Transformers: Revenge of the Fallen holds the record with $29.1M.
The decrease from Wednesday to Thursday was the worst ever for a film opening on a Wednesday. Although this seems like a significant drop, it was to be expected given the difference between a second day falling on a weekday vs. a weekend day. Even the film whose Wednesday opening was beaten by Eclipse, Transformers: Revenge of the Fallen, opened with $62M and dropped 53% from Wednesday to Thursday. It should also be kept in mind that The Twilight Saga films tend to be heavily front-loaded, that is, a higher percentage of fans want to be among the first to see the film -- more than for many other franchises and tentpole movies.
Other films which opened on a Wednesday and dropped on Thursday include Star Wars: Episode I - The Phantom Menace (down 57%), Harry Potter and the Order of the Phoenix (down 58%), and Harry Potter and the Half-Blood Prince (down 62%). The last film which opened on a Wednesday, June 30 prior to the Independence Day weekend was Spider-Man 2, which dropped 41% from Wednesday to Thursday.
How does this compare with recordholder New Moon? That film took in $72.7M its opening day and dropped 41.8% to earn $42.3M the next. Its total was $115M after the first two days. But, again, that was a Friday to Saturday as opposed to a Wednesday to Thursday. Apples to oranges, as the saying goes. That said, a drop from Wednesday to Thursday for Eclipse from $68.53M to $24.21M is a pretty steep 64.7%. But that was to be expected since Thursday is still not part of the weekend.
UPDATE FRIDAY 12:00 NOON:
Early estimates as of Friday 12:00 noon show The Twilight Saga: Eclipse finished #1 again on Thursday, taking in another $24.2M from 4,416 locations. Adding in Wednesday's numbers gives the film a cumulative total of $92.8M domestic. Industry projections call for a possible 5-day weekend total of $110M and a 6-day holiday weekend totaling $178M. Spider-Man 2 took in $180M over its 6-day Independence Day holiday weekend.
UPDATE THURSDAY 5:30 PM:
Theater counts have officially been released for the week of Friday 7/2 to Thursday 7/8 (which includes the 4-day Independence Day holiday weekend of 7/2 -7/5). The Twilight Saga: Eclipse will add 52 theaters to increase from 4,416 to 4,468. Summit also announced that Eclipse took in $16.2M from 21 overseas markets on its first day of release.
UPDATE THURSDAY 2:45 PM:
Summit has now officially certified that The Twilight Saga: Eclipse took in $68,533,840 on Wednesday. The film opened in 4,416 theaters, the widest opening in history, with a per theater average of $15,519. New Moon's opening day average was $18,068. However, keep in mind that there's a big difference between a Wednesday and a Friday opening. A fair comparison of box office returns for Eclipse vs. New Moon really won't be possible until next week. In addition, the one-night Twilight/New Moon double feature brought in $2,385,237. See 1:00 PM update below for records and more.
UPDATE THURSDAY 1:00 PM:
The Twilight Saga: Eclipse has broken the record for a Wednesday opening, taking in an estimated $68.5M from 4,416 locations, the widest opening in history. This tops the $62M brought in by Transformers: Revenge of the Fallen. Included in the total is the $30M reported previously from midnight and 3:00 AM screenings. It also set a new record for the #1 summer day of all time, beating The Dark Knight's $67.2M.
It was the second highest single day of all time after The Twilight Saga: New Moon, which took in $72.7M from 4,024 theaters on its opening day, setting a new all-time single day box office record. That figure included $26.3M in midnight shows. On Wednesday, June 30, 2004, Spider-Man 2 took in $40.4M ($52M adjusted for inflation). By the end of the Monday holiday it had taken in $180.1M (230M adjusted).
What to watch for: We won't be able to compare per theater averages for New Moon vs. Eclipse until we know exactly how many showings there were. Those figures should be released soon. Also keep in mind that the Independence Day holiday weekend is tabulated starting Friday, so the 3-day weekend totals will not include Wednesday and Thursday. Therefore, it's possible that Eclipse may not set a holiday weekend record.
UPDATE THURSDAY 2:00 AM:
Early figures estimate that The Twilight Saga: Eclipse will break the record for a Wednesday opening, taking in $65M. This tops the $62M brought in by Transformers: Revenge of the Fallen. Included in the total is the $30M reported previously from midnight and 3:00 AM screenings. In comparison, The Twilight Saga: New Moon took in $72.7M from 4,024 theaters on its opening day, setting a new all-time single day box office record. Of course, that was a Friday, not a Wednesday.
These numbers are not official and are only estimates based on early reports. However, these preliminary figures are usually fairly close to the final data. Summit Entertainment will officially announce domestic and worldwide numbers later.
UPDATE WEDNESDAY 2:00 PM:
The Twilight Saga: Eclipse has opened to a record $30M+ overnight from approximately 4,000 screenings, beating the record $26.27M set by New Moon. This is an estimated total from all midnight and 3:00 AM shows. The film also set a new IMAX overnight record, with $1M at 192 locations beating the recordholder Transformers: Revenge of the Fallen with $959K.
As I posted below, Twilight opened on November 21, 2008 at 3,419 theaters, taking in around $7M in midnight screenings (which was considered stratospheric at the time). Its first weekend total was $69.64M. The Twilight Saga: New Moon opened on November 20, 2009 with $26.27M from 3,514 midnight screenings at 4,024 locations on its way to a first day total of $72.7M (more than Twilight's entire opening weekend). Its first weekend total was $142.8M, making it the #3 all-time and #1 non-summer opening weekend of all time.
The Dark Knight had a $18.4M midnight debut (3-day weekend) and Harry Potter and the Half-Blood Prince took in $22.2M on a Tuesday night on its way to a 5-day weekend total of $158M. The Dark Knight went on to take in $67.17M that opening day, dropped 29.1% from Friday to Saturday to bring in another $47.65M, and ended with $43.6M on Sunday for an opening weekend total of $158.4M.
What to watch for: We won't be able to measure per theater averages until we know exactly how many showings there were. That will be a better indicator of how well Eclipse did vs. New Moon. The film's opening day total will be released tomorrow afternoon, Thursday 7/1. More theaters are expected to be added on Friday. The Independence Day holiday weekend is tabulated starting Friday, so the 3-day weekend totals will not include today and tomorrow's numbers. Therefore, it's possible that Eclipse may not set a holiday weekend record. Wednesday and Thursday's numbers will still count toward the film's total box office although they will be included in the week of Friday 6/25 - Thursday 7/1.
WEDNESDAY 7:00 AM:
As I did with Twilight and The Twilight Saga: New Moon, I will be tracking the box office numbers for The Twilight Saga: Eclipse on a daily basis. You will be able to follow the progress of the film on this blog just as you were able to witness the success of the previous movies here from the moment the first ticket was torn at the midnight screenings of Twilight, the first in the series based on Stephenie Meyer's best-selling books. That film was, at the time, expected to be a modestly successful indie -- and, yes, these are independent films, which is one of the the primary reasons I began reporting on them in the first place (and will continue to do).
The rest is cinematic history, and this morning's release of the third film in the The Twilight Saga was the biggest opening of all time at 4,416 venues. So it's no surprise that early reports say theaters were mobbed not just in America but overseas as well.
There are a few things to watch for (click the links for daily numbers and extensive analysis). Twilight opened on November 21, 2008 at 3,419 theaters, taking in around $7 million in midnight screenings (which was considered stratospheric at the time). Its first weekend total was $69.64 million. The Twilight Saga: New Moon opened on November 20, 2009 with $26.27 million from 3,514 midnight screenings at 4,024 locations on its way to a first day total of $72.7 million (more than Twilight's entire opening weekend). Its first weekend total was $142.8 million, making it the #3 all-time and #1 non-summer opening weekend of all time.
After the second weekend, its domestic total was $230.95M and worldwide was $473.95M. The film passed the $1/2 billion mark worldwide in its third weekend. After four weekends, New Moon sat at $267.32M domestic. And the film ended its fifth weekend with a total $274.6M domestic and $634.7M worldwide on its way to a current theatrical total of $296.6M domestic and $709.7M worldwide.
In comparing the box office numbers for Eclipse vs. New Moon, due to the differences in number of theaters and screens, it would be best to follow the per theater and per screen averages (which I'll be posting). That would be a more reliable indicator of how well this film is performing vs. the previous one. Not to mention that it's a 6-day holiday weekend opening.
The key to the total weekend box office will be the percentage drop (or increase) from one day to the next, especially Friday to Saturday. Twilight dropped 40.8% from Friday to Saturday its first weekend. New Moon dropped 41.8% the first Saturday after it opened. So that's the key to this weekend. No matter how well Eclipse does over the next couple of days it won't hold up if there's a precipitous decline on Saturday.
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Posted July 14, 2010 by
The 2010 Toronto International Film Festival begins exactly eight weeks from tomorrow. I've attended 47 film festivals since the start of 2006, but none as prestigious or breathtaking in scope as this one. I saw over 105 films there from 2006-2009, and many of my Top Picks from all festivals over the past few years came from the Toronto lineup. This year's event runs from September 9-19 and, in my book, it's the top film festival in the Western Hemisphere, second in the world only to Cannes. TIFF is ranked #3 among the Top 50 Film Festivals in the world by the editors of indieWIRE. Many films have their World or North American premieres there. Almost every major Academy Award-winning film of the past few years debuted in Toronto. The number of movies is expected to total over 275.
The complete film list will be revealed in mid-August on the official site at tiff.net/thefestival. In the meantime, the festival will be rolling out some titles in advance of the complete schedule. It all starts with the announcement of the official Opening Night Film.
The 35th TIFF will kick off with the World Premiere of Michael McGowan's Score: A Hockey Musical, starring the iconic Olivia Newton-John (Grease, Glee), singer/songwriter Marc Jordan, newcomers Noah Reid and Allie MacDonald, and a bevy of Canadian musical, hockey, and sports broadcast personalities. Described by some as "Glee on ice," the film focuses on a 17-year-old's dream to play professional hockey. It's a classic coming-of-age meets A Star is Born story of inspiration.
"Score: A Hockey Musical captures key elements of Canadian identity -- our passion for our national pastime, our unique musical style and our special brand of humour," said TIFF Director and CEO Piers Handling. "We’re pleased to welcome back Michael McGowan to the Festival to help us kick off 11 days of exciting programming."
"I can't think of a better way to kick off our 35th anniversary Festival than with Score: A Hockey Musical," said Cameron Bailey, Co-Director of the Toronto International Film Festival. "It continues our tradition of launching the very best in Canadian filmmaking -- although in 35 years this is our first musical romance about hockey. Plan for a fun night on September 9."
Ticket packages are now available for purchase by cash, debit, or Visa online at tiff.net/thefestival, by phone at 416-968-FILM or 1-877-968-FILM (Monday through Friday, 10 AM to 7 PM), or in person at the TIFF Box Office at 2 Carlton Street, West Mezzanine (Monday to Friday: 10 AM to 7 PM.
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Posted July 13, 2010 by
The World Premiere of The Runaways took place in January at the 2010 Sundance Film Festival. I loved the film (see my review) and selected it as one of my Top 5 Picks.Written and directed by Floria Sigismondi, this rock & roll biopic about Joan Jett's legendary first group is loosely based on bandmate Cherie Currie's book Neon Angel: The Cherie Currie Story. The Runaways, although derided by the music industry at the time for being "too punk" for radio and not raw enough (read: male) for punk fans, are now seen as pioneers in the genre despite their short-lived career in the mid-late 70s.
Channeling Joan Jett, Kristen Stewart turns in a moving and powerful performance that will leave viewers stunned. Dakota Fanning is so frighteningly brilliant as Currie that she brought Cherie to tears in the Q&A following the Sundance screening (see my photos). The film masterfully recreates the rock & roll excesses that marked many bands of that era (and still do today) and pulls no punches in its depiction of the downward spiral that is almost inevitable in the crucible of youth, fame, and fortune.
The Runaways next played the SXSW Film Festival, followed by a brief limited run in North America (written about extensively on this blog).
Now the film is set to be released in several overseas markets. Here is the official UK trailer from E1 Entertainment.
UPCOMING RELEASE DATES:
Australia – 15 July 2010
New Zealand – 15 July 2010 (New Zealand International Film Festival)
Thailand – 15 July 2010
Mexico – 6 August 2010
UK – 27 August 2010
New Zealand – 9 September 2010
Spain – 10 September 2010
France – 15 September 2010
Finland – 24 September 2010
Brazil – 30 September 2010
Germany – 22 October 2010 (DVD premiere)
Netherlands – 30 November 2010
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Posted July 11, 2010 by
It's always quite satisfying when one of my film festival Top Picks is acquired for distribution. It's even nicer when a theatrical release date is actually set -- not always a certainty even though a deal has been made. And it's especially rewarding when the film actually opens -- also not necessarily guaranteed even after a release date has been announced. Trust me, I've been there. But the ultimate satisfaction comes from seeing that movie open not only to rave reviews but also to boffo box office. Such is the case with Lisa Cholodenko's The Kids Are All Right, one of my Top 5 Picks from the 2010 Sundance Film Festival and the one I selected as "most likely to get picked up for wide distribution" -- which it was, when Focus Features paid $5 million for it shortly afterward. A release date was set for July 9, 2010 in five markets.
Opening in only seven theaters this weekend in New York, Los Angeles, Toronto, Chicago and San Francisco, The Kids Are All Right took in $504,888 for an amazing per theater average of $72,127. This was the highest average of any film released in 2010 so far -- the last film to be as successful was December's Up in the Air with its $78,763 average from 15 theaters.
"The film easily transitions from clever and witty to poignant and moving, taking the viewer on a roller coaster ride of emotions that gradually loses control right up until its breathtaking finish," I wrote in my review after the festival. "Cholodenko makes full use of the alternative nature of the family to set up some hilarious moments that are a perfect counterpart to what might otherwise be an overly melodramatic story. It's a winning combination."
I selected the film as one of my Top 5 Picks and posted pictures from the Q&A following the screening.
It was a thrill meeting the classy Julianne Moore and rising star Mia Wasikowska for the first time, and it was a pleasure seeing Josh Hutcherson again -- we'd met at the World Premiere of Journey to the Center of the Earth at the Los Angeles Film Festival in June 2008. Congratulations to all on a terrific first weekend of what looks like a winner at the box office as well as contender for Academy Awards come year end.
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Posted July 10, 2010 by
Last week I posted my review and an exclusive clip from the Australian thriller Road Kill (formerly Road Train). This was actor Xavier Samuel's final motion picture prior to becoming a household name after being cast as newborn vampire Riley in The Twilight Saga: Eclipse.Since last fall I've been reporting on the progress of the film's road to distribution and the unique deal that distributor Lightning Media has with Fangoria Frightfest to release the film on DVD, Video On Demand (VOD), and as a digital download. What's especially exciting is that YOU get to decide whether or not the movie comes to a theater near you. If fans go online and vote for it, Road Kill will get a late July theatrical release.
You can go to FangoriaFrightFest.com to view trailers and special features for the eight films, then vote for the one you want to see on the big screen. Polls will be open until July 19 to all US residents.
Thanks to director Dean Francis and film rep Luke Nutley, we have another exclusive clip from the film, featuring Georgina Haig and Xavier Samuel, along with a video of Haig thanking the fans for their votes. I've also posted new production stills of Haig and Sophie Lowe.
Georgina Haig for Fangoria Frightfest from Dean Francis on Vimeo.
Click thumbnails to enlarge
Sophie Lowe as Nina
Georgina Haig as Liz
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Posted July 10, 2010 by
The Australian horror flick The Loved Ones has been a topic of discussion on this blog since July 2009 when I announced that the International Premiere would take place at the Toronto International Film Festival. In September I attended that screening, which won the Midnight Madness Cadillac People's Choice Award. Star Xavier Samuel (The Twilight Saga: Eclipse), turns in an agonizingly horrific portrayal of a teen forced to suffer at the hands of classmate Lola (Robin McLeavy), the jilted would-be prom queen. Also watch for the stunning Victoria Thaine as Holly. See my review (non-spoiler), along with pictures of the Q&A with candids and posed shots following the event, and pictures from the pre-party that afternoon.
The Loved Ones will play the UK's Frightfest in late August and will be released in Australia on September 30th through Madman Entertainment. It is rated 15+ by the Australian Classification Board for nudity, sex and violence. The film has no US distributor at this writing.
NOTE: May contain spoilers.
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Posted July 03, 2010 by
Due to my ongoing family health issue I will be unable to post new articles for the next week. I will try to stay on top of any breaking stories and tweet when possible at twitter.com/larry411. Please be understanding if I don't respond to your @ messages or DMs as I normally do since my time online will be intermittent and brief.
Thanks everyone for your thoughts and prayers -- I hope to be back to posting regularly next week.
Thanks everyone for your thoughts and prayers -- I hope to be back to posting regularly next week.
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Posted July 03, 2010 by
Road Kill (formerly Road Train), directed by Dean Francis from a story by Clive Hopkins, is a supernatural thriller about a group of teenagers menaced by a driver-less double-tractor-trailer in the Australian outback. The film was shot in the spring of 2009 in Adelaide, South Australia, where these monster big rigs -- "Road Trains" -- are a familiar sight to the locals. But these trucks aren't as familiar to others, hence the name change to Road Kill which, as the viewer will discover, may be much more appropriate after all.Four teens are on an excursion to the Outback -- a traditional rite of passage for young Aussies and a challenge for even the hardiest. The two boys, Craig (Bob Morley) and Marcus (Xavier Samuel), are close and share a tight bond with secrets left unsaid. The girls, Nina (Sophie Lowe) and Liz (Georgina Haig) appear subservient to their men and beholden to confusing loyalties. The approach of a frighteningly imposing road train fuels the guys' adrenaline and sends the women into a frenzy. What at first appears predictable is anything but, and the group's ensuing confrontation with the truck and its driver becomes multi-layered. Road Kill turns into a haunted adventure that leaves much to the imagination, filled with puzzling and unsettling visions.
When the groundbreaking made-for-television movie Duel was first shown in 1971, nobody was aware that its director would go on to become one of the great icons of cinema. After all, it was Steven Spielberg's directorial debut and few knew who he was at the time. The premise of the film was simple -- a tractor-trailer menaces a lonely driver (Dennis Weaver) on the barren, open roads of the American West. The themes in that movie were used in his later films as well -- Jaws simply substituted a shark for a truck. Many others have paid homage to Duel as well -- the opening scene in Victor Salva's Jeepers Creepers duplicates it almost precisely. John Carpenter played with the idea of a vehicle with a mind of its own in the film based on the Stephen King novel Christine.
Elements of these classic thrillers are used in Road Kill to some extent. The vehicle's introduction in the movie echoes both Duel as well as Jeepers Creepers -- a truck barreling down the road, looming large in the car's rearview mirror. There are other homages to the above films in Road Kill along with the requisite Hitchcockian horror tropes. But this story veers off in another direction, literally, and that's where the similarities end and the originality of Road Kill overtakes the viewer.
Liz (the angelic Georgina Haig) is the perky girl whose cherubic face and perfectly flowing blond locks are the stuff of makeup cover girl ads. She's never roughed it in her life and it shows. She's the perfect companion to Marcus -- they are the soft, sweet, cotton candy couple. Haig shines, literally, and is a radiant screen presence. Marcus (Xavier Samuel) is the mischievous boy who's not quite ready to be a man. His puppy-dog vulnerability is a perfect match for rising young star Samuel, whose youthful persona is the very epitome of innocence. His classical training and extensive experience shine through in what could have been a one-dimensional performance in the hands of a lesser actor. Instead, he fills it with color and nuance.
Nina (Sophie Lowe) is the enigmatic girl who appears kind and gentle, yet runs with bad boy Craig and has an inner strength that can be unleashed in a moment's notice. It's a challenging role and Lowe is up to the task. Her character arc is filled with twists and turns, demanding a performance that teeters between incredulity and authenticity. Lowe does it with ease. And Bob Morley is commanding as Craig, the one actor with a potentially menacing presence even in dead calm. His moods are able to turn on a dime, raising the level of tension every time he's onscreen. Morley keeps the viewer constantly guessing. Much of the story rests on his shoulders and he delivers admirably.
This may be a low budget film but the production values certainly don't reflect that. One reason the filmmakers were able to stretch their dollars is because most of the story takes place outdoors. Exterior shots are much less labor-intensive and costly in time and money. Natural light was able to be used in most scenes, with warm colors enhanced to impart a golden glow. This imparts a look that emphasizes both the abundance of sunlight as well as the lack of life-sustaining water. It is on this dry, parched landscape that the action unfolds.
Road Kill's carefully crafted soundtrack helps achieve the desired results required in any genre film. The music and sound effects are like cast members unto themselves and play pivotal roles in the film. Rafael May's score cuts to the bone from the moment the opening title appears and is ever-present -- never obtrusive but always lurking in the shadows, ready to ride roughshod over the characters like the vehicle at the heart of the story.
The landscape is absolutely stunning, and Carl Robertson's cinematography makes full use of it. Shot in widescreen, the camera loves the breathtaking vistas and sweeping majesty of the South Australian setting. The surprisingly chilling visual effects were also a treat. They're essential to the story yet are used sparingly and effectively. Since Road Kill is a character-driven psychological thriller more than anything, it doesn't need an overabundance of cutting-edge technology to hit its target.
This was actor Xavier Samuel's final motion picture prior to becoming a household name after being cast as newborn vampire Riley in The Twilight Saga: Eclipse. For some, that alone may be all that needs to be said. For everyone else, though, there are so many other good reasons why this film is worthy of your time.
Duel, Jaws, Christine, and Jeepers Creepers all relied primarily on one "monster" to tell their stories -- a truck, a shark, a car, a creature. They all had terrifically talented casts and wouldn't have succeeded without brilliant acting. But although a monster -- a truck, in this case -- is at the heart of the plot, Road Kill is ultimately about these four young people and the transformations which take place within them in the presence of the beast.
Lightning Media has secured a unique distribution deal via Fangoria Frightfest. Road Kill is one of eight titles which will be released on DVD, Video On Demand (VOD), and as a digital download. In addition, one film will be selected through online fan voting to win a late July theatrical release.
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Posted July 02, 2010 by
Welcome to the Rileys plays off familiar themes. How a family deals with grief was explored in two of my favorite films of the 2009 festival year. The Greatest, my Top Pick from last year's Sundance Film Festival, and Accidents Happen, which played Tribeca last spring, both look at the tragic consequences of the premature loss of a child. In his second feature, director Jake Scott appears to be stepping into familiar territory. At first glance Ken Hixon's screenplay says Pretty Woman meets My Fair Lady, with businessman Doug Riley (James Gandolfini) on a mission to tame wild stripper Mallory (Kristen Stewart). The story takes us in a more unexpected direction, however, and its originality begins to emerge. Welcome to the Rileys isn't about redemption per se, but the way that we are inexplicably changed by the strangers who serendipitously enter our lives.
The Rileys are Doug (James Gandolfini) and Lois (Melissa Leo), and it's apparent from the start that their marriage has seen better days. While barely hinting at the tragedy which has slowly pushed them apart, Doug spends more and more time away from home while Lois stays locked inside. On a routine trip to a convention in New Orleans, a visit to a strip club places a young runaway (Kristen Stewart) into Doug's lap. What happens next is not as predictable as it seems, and a fuse is lit which burns ever so slowly as the lives of these three lost souls are altered in the most unpredictable ways.
The film's opening shot sends an immediate and powerful message about the look of this film -- a face obscured in shadow, close up, with only an outline hinting at the actor's identity. Then, lighting up to smoke, the familiar image of actor James Gandolfini fills the screen. The delicate use of natural light and shadow permeates the film, giving it a noir look that perfectly matches the mysterious nature of the characters' thoughts and true motivations. Night scenes are lit using the same type of lamp which illuminates the French Quarter, adding to the indie feel. Marc Streitenfeld's delicate, jazz-influenced score is used sparingly, punctuating the poignant moments of the movie.
Copious use of closeups blends well with the lighting and sound design, and cinematographer Christopher Soos makes full use of the playful visuals offered by colorful and quaint New Orleans. Pacing is appropriately slow, with the patient hand of editor Nicolas Gaster at the helm.
Most of all, Welcome to the Rileys is character-driven, with Leo, Gandolfini, and Stewart each owning their roles with an intensity that never wanes. Few actors play the tortured wife and mother as well as Melissa Leo. As the agoraphobic Lois Riley, her quiet desperation is palpable. Leo's face reflects painful tragedy one moment and shines with the glow of a new mother the next. Gandolfini combines the strength of an experienced road warrior with the innocence of a young man taking his first girl to the prom. His presence dominates this film and his sensitive performance is breathtaking. Stewart takes risks which would be daunting to actors twice her age. Brash and offensive, her Mallory is like a wild tigress in heat that's escaped from the zoo and evades capture at every turn. This could be her most shocking and memorable performance yet.
Director Jake Scott, in his second feature, doesn't shy away from his pedigree -- he's the son of Ridley and nephew of Tony Scott, who serve as producers -- but leaves no doubt that he comes from his own school of filmmaking. On the face of it, this film seems to be a variation on classic dramatic themes. But Welcome to the Rileys retains a unique quality to it that sets it apart from the rest. If you look closely enough, the message is clear. Life-changing experiences aren't planned. They hit you when you least expect it.
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Posted July 01, 2010 by
Road Kill (formerly Road Train) was actor Xavier Samuel's final motion picture prior to becoming a household name after being cast as newborn vampire Riley in The Twilight Saga: Eclipse. Shot in the spring of 2009 on his home turf in Adelaide, South Australia, the film is a supernatural thriller about a group of teenagers menaced by a driver-less double-trailer truck in the Australian outback. Last November I reported on the progress of the film's road to distribution, and in May I was happy to say that Road Kill distributor Lightning Media had secured a unique deal via Fangoria Frightfest to release the film on DVD, Video On Demand (VOD), and as a digital download. But what's especially exciting is that YOU get to decide whether or not the movie comes to a theater near you. If fans go online and vote for it, Road Kill will get a late July theatrical release.
"Xavier had 'movie star' written all over him the minute he walked into my casting room," said director Dean Francis. "When he told me after wrap that he was trying out for Twilight, we all had no doubt he'd get the role -- he was extremely thorough on Road Kill, a real perfectionist, great in rehearsal and as a result gives a great performance. Xavier is the real deal, and no doubt he'll be on our screens for many years to come. He's also the perfect sexy vampire!"
You can go to FangoriaFrightFest.com to view trailers and special features for the eight films, then vote for the one you want to see on the big screen. Polls will be open until July 19 to all US residents.
Thanks to director Dean Francis and film rep Luke Nutley, I've been given an exclusive clip of Xavier's work in Road Kill just for his fans. You won't see this anywhere else! Enjoy.
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Posted June 30, 2010 by
One of the dilemmas I face as a journalist covering independent films has to do with the terminology used in discussing the industry. Many of my articles have to do with movie production, distribution, box office results, and finances. These are often topics particularly prone to writing with the use of words and phrases which may be unfamiliar to many of my readers. On the one hand, I don't want to lose people and go over the heads of those unfamiliar with these terms ("Dude, I don't have a clue what you're talking about."). On the other hand, for those who do understand the terminology of the business my writing runs the risk of coming off as patronizing or condescending ("Dude, I know that that means. You don't have to explain it.")
What I have to do then is strike a balance between the two -- post stories which are comprehensible to all audiences without offending. It's a challenge but so far it's been fine, especially as my readers have become Twitter followers and are comfortable in asking me what the language means.
The following terms and phrases appear within the most frequent topics of discussion in my articles as well as on Twitter, so many thanks go out to attorney Schuyler M. Moor, adjunct professor at UCLA Law School and UCLA Anderson School of Management, whose glossary has been published at The Hollywood Reporter.
This isn't meant to be completely humorous or sarcastic, although Mr. Moor tries to have some fun with it. Within his jokes are the actual definitions, in most cases. Some of the following may seem obvious but, trust me, most of these are terms which may not be as clear cut as they seem when used in the context of the film industry.
Here we go:
United States , when applied to box office numbers, means the United States (including our 51st state, Canada, and, for the hell of it, all of the Caribbean).
Domestic, when applied to box office numbers, means the United States (including our 51st state, Canada, and all of the Caribbean).
North America, when applied to box office numbers, means the United States and -- you guessed it -- Canada and all of the Caribbean. But it excludes Mexico because, on Hollywood maps, it is part of South America owing to the fact that Mexicans speak Spanish.
First look means, depending on whom you ask, either (a) a right of first negotiation, the weakest form of a right to acquire something; or (b) an option, the strongest form of a right to acquire something. So, if you like litigation, use this term often.
Gross. How could "gross" need a definition? Well, if that's all you say, then based on custom and practice, it actually means that only 20% of video is included, and it also means that a bunch of "off-the-top" expenses are deducted (see below).
Adjusted gross means, well, actually the same as "gross," unless you are an agent that wants to tell your client that he got a share of "adjusted gross," in which case it might mean "net" (see below).
Net means you go hungry.
Actual break-even means "net" (see above).
Off-the-top expenses means a bunch of expenses that someone decided at some point always should be deducted, even from "gross," in the interest of fairness -- even if they have nothing to do with the film (like trade dues) or shouldn't be deducted at all (like taxes for which a credit is available).
Budget means a forward-looking estimate of anticipated production cost, except when it means a backwards-looking statement of actual production costs.
Attached (as in, "Tom Hanks is attached") means that you sent the script to the actor's agent and haven't received a rejection letter yet.
NDA agreement means non-disclosure agreement. It also means that whatever is disclosed pursuant to it will be summarized on an online blog within minutes.
Pay or play means that the person is guaranteed to be paid (unless a number of standard conditions neuter the guarantee).
Pay and play means you can't get a completion bond (see "completion bond").
Completion bond means a guarantee that your film will be professionally completed on time exactly as originally envisioned (though the bond company will use a camcorder and have the actors read their lines if it has to take over production).
Loan out corporation is what is left if you remove the skin of a balloon.
Deal memo, term sheet or letter of intent means the lame, half-baked document attached as Exhibit A to a complaint.
Green light means that someone says that the film will be produced (unless it's not).
Residuals are one of the main reasons most films lose money.
Gap means the difference between reality (the few bucks the producer has) and fantasy (the fully funded budget).
Pre-sale means the sale of a film before production based on a pack of lies.
Notice of assignment means a document sent by the bank loaning against a "pre-sale" that overrides all the lies in the "pre-sale."
Single-picture financing means a transaction in which investors lose money on a single film.
Slate financing means a transaction in which investors lose money on a bunch of films.
Soft floor and hard floor have subtle Freudian connotations. Use these last.
Again, some of these are meant for laughs but the real definitions are in there (mostly). If any of it still confusing don't hesitate to ask me here or on my Twitter.
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Posted June 29, 2010 by
The 2010 Los Angeles Film Festival has come to an exciting conclusion and I've returned home to take stock of my whirlwind week in sunny Southern California. This year I was tweeting live throughout the festival, including short reviews of all the films I saw. Hopefully readers followed along and were able to join me in experiencing the event in real time. As in previous years, and as I do following every film festival I've attended (46 since the start of 2006), this wrapup will conclude with my list of Top Picks.
First, some statistics. This year I attended a total of 20 screenings, including 19 full-length features and one shorts program. Those 19 features included 17 narratives and two documentaries -- a much higher ratio than in previous years (last year I saw nine docs). Of those documentaries, one was from Australia and one was from Canada. The 17 narratives consisted of 13 from other countries and only four from the US. Combining narratives and docs, it adds up to 15 non-US and only four American features. The 15 "foreign" films included 10 with subtitles (the other five were from English-speaking countries). At three different times in the festival I saw three subtitled films in a row.
Therefore, of the 20 screenings I attended there were only four US narrative features, or the "sweet little American indies," which usually make up the majority of films I see at festivals. This was a big change from previous years. In addition, one of my goals is always to catch as many competition films as possible, and this year I lucked out. I saw seven of the nine films in the Narrative Feature Competition.
One thing that film festivals offer over traditional cinemas is an exciting and informative Q&A session with cast and filmmakers after screenings. Most films at LAFF have at least two showings, and Q&As traditionally wane with successive ones. But that's beginning to change. Of the 11 first screenings and nine second screenings I attended, all but five had Q&As. The 15 that did included nine of the 11 first screenings and six of the nine second screenings. I also spent a lot more time at L.A. LIVE than I expected to. All but one of my screenings were at the Regal Cinemas L.A. LIVE Stadium 14 (one was at the Downtown Independent). It's also been surprising how fast film stock is fading as the medium of choice at most festivals I've attended recently. Fortunately, that trend was reversed here. Of the 19 features I saw, 10 used traditional 35mm film. Only nine were shot on HDCAM.
Please keep in mind that there were a lot of enjoyable films -- only a few were disappointing. Most I'd recommend and some I'd even see again. But there are three that I'd label the best of the best -- the films that I'd not only recommend, but also see again and buy the DVD.
In addition, I've selected several Honorable Mentions. If I lumped them all together with the three Top Picks it would add up to half the films I saw, and I generally like to keep my list of favorites to about 25% of the total, so they're listed separately below. These include three films which were "on the bubble" -- close to being chosen among my Top Picks. The same applies to four movies which fall in the "genre" category, real or imagined. That is, fictional and/or actual horror stories which I recommend with qualifications -- they aren't for everyone but are worth honoring.
Here are my Top Picks from the 2010 Los Angeles Film Festival. Countries of origin are listed in parentheses.
TOP 3 PICKS
The Wheeler Boys (US) -- Featured in the Summer Showcase section, The Wheeler Boys has the distinction of being my only Top Pick from the US and one of just two narrative features from America out of the 10 I'm singling out today. There was no other domestic movie shot on 35mm film out of all the 19 features I saw. That makes it the only film that I can label a "sweet little American indie," the category which often dominates not only the festivals I attend but also my Top Picks. There was literally no competition. Director/co-writer Philip G. Flores and his principal cast held a Q&A after the screening, which was the film's World Premiere. My audio interview with Flores was posted here last week.
Parade (Japan) -- This was one of the seven (of nine total) Narrative Competition films I was lucky enough to see, and the only one I've selected as a Top Pick. In other words, it wins my Narrative Competition. The Jury Award winner (A Family) was on the bubble and does earn an Honorable Mention from me (see below). In Japanese with English subtitles, Parade was shot on 35mm film. It debuted at Pusan in South Korea and played Berlin before opening in Japan. This was the North American Premiere. Director Isao Yukisada was present for a Q&A.
Monsters (UK) -- Also a Summer Showcase selection, Monsters was one of the nine films (of 19 total) I saw which was shot on HDCAM. Although a UK production -- writer/director/cinematographer Gareth Edwards is from England -- the film was shot entirely on location in Belize, Costa Rica, Guatemala, Mexico, and Texas with locals and American lead actors. Despite its title, this is more of a love story with mass appeal as opposed to a genre film with limited appeal to horror/sci-fi/paranormal fans. For this reason I recommend it to all audiences. Edwards attended and conducted a Q&A along with stars Whitney Able and Scoot McNairy.
HONORABLE MENTION
These three films came very close to making my Top Picks and are highly recommended (in alphabetical order):
Animal Kingdom (Australia) -- This Gala selection won the Jury Prize for World Cinema in the dramatic category at Sundance. Writer/director David Michod shot on 35mm film in Melbourne. He attended and conducted a Q&A with his cast after the screening.
A Family (Denmark) -- This film debuted at Berlin in February and came to LAFF for its North American Premiere. Director/co-writer Pernille Fischer Christensen chose 35mm film for her third feature. The jury selected A Family as the best in the Narrative Competition.
Family Tree (France) -- Featured in the International Showcase section, this movie debuted at Berlin and went on to Edinburgh before arriving in Los Angeles for its North American Premiere. Shot on 35mm film, Family Tree was one of the unanimous favorites among the festivalgoers I encountered during the week. Co-director/co-writer (with Jacques Martineau) Olivier Duscatel was present for a Q&A following the screening.
I also give qualified recommendations to the following films which, due to their subject matter, may not be appropriate for all audiences but were among my personal favorites (in alphabetical order):
Bitter Feast (US) -- Readers of this blog know that I'm a genre fan to the max -- these films have, at times, made up half my schedule at festivals. "The Beyond" section at LAFF included the World Premiere of this Joe Maggio-written and directed psychological horror/thriller. Shot on HDCAM, Bitter Feast was one of only four American features of the 19 I saw here. Maggio and cast held a Q&A session after the late night screening.
Lebanon (Germany/Israel/France/Lebanon) -- This International Showcase selection was shot on 35mm and set entirely within the confines of an Israeli tank. With the exception of the film's opening and closing shots, the entire movie either depicts the soldiers inside the vehicle or the perspective looking out through the tank sight. The film took home the Golden Lion after its debut in Venice and has gone on to rave reviews on the festival circuit worldwide. Director Samuel Moaz has crafted a beautiful but brutal film. It is not for the squeamish.
Life with Murder (Canada) -- This selection from the Documentary Competition is the only non-narrative piece that made my list this year. Director John Kastner shot on DigiBeta and HDCAM. He attended the US Premiere here in LA and conducted one of the more interesting Q&As of the week, as his participation in the production (as is often the case with docs) altered the course of the story he initially set out to tell of a young man found guilty of murdering his sister. I recommend the film with qualifications due to its controversial subject matter.
R (Denmark) -- Featured in the International Showcase section, this was the North American Premiere of R. Co-directors/co-writers Michael Noer and Tobias Lindholm both attended the screening and held a Q&A afterward. Shot on 35mm, R takes place inside a real Danish prison with professional actors as well as former inmates. This is a narrative based on true horrors and is especially scary due to the presence of real and not imagined monsters, making it not for the faint of heart.
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Posted June 28, 2010 by
The final movie(s) in the Harry Potter series (I know, they say that all the time but this time I think they really mean it) is (are) ready to hit big screens everywhere. Harry Potter and the Deathly Hallows will be out on November 19th (Part 1) and July 15th, 2011 (Part 2). David Yates (Order of the Phoenix, Half-Blood Prince) returns to wrap things up. Here now, the long-awaited, much-anticipated, chill-inducing, nail-biting, exciting trailer. 'Nuff said.
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Posted June 27, 2010 by
On Thursday, June 17 I headed west to sunny Southern California for the spectacular 2010 Los Angeles Film Festival. I tweeted live every day and have been posting interviews and pictures on this blog from some of the events which I attended. In addition to the hundreds of high profile premieres and other film-related activities, the festival is known for its one-of-a-kind opportunities for attendees to rub elbows and share information with both young filmmakers as well as seasoned industry professionals at panels and parties. While I primarily spend my time seeing movies above all else, I also do try to attend some of these other unique events as well.
The new downtown hub of the festival is the L.A. LIVE complex, situated next to the Staples Center. This just happened to have been the site for the NBA Finals Game 7 between the Los Angeles Lakers and Boston Celtics on the festival's opening night. The hometown team won, with fans spilling out into the streets to celebrate the championship. I was at the intersection of Hollywood & Highland, in the heart of Hollywood, when the raucous party was at its peak.
I also attended the Future Filmmakers Luncheon at the ZonePerfect live.create.lounge on Saturday, June 19. Directors of the high school shorts were presented with certificates. Live music followed the awards ceremony.
Here are some pictures I shot of the scene at L.A LIVE, the Lakers victory celebration in Hollywood, and the luncheon festivities:
L.A. SIGHTS (6 photos)
FUTURE FILMMAKERS LUNCHEON (41 photos)
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Posted June 26, 2010 by
Here is the official press release announcing the award winners of the 2010 Los Angeles Film Festival:LOS ANGELES (June 26, 2010) – Today Film Independent, the non-profit arts organization that produces the Spirit Awards and the Los Angeles Film Festival, announced its 2010 Los Angeles Film Festival award winners at a brunch at CHAYA Downtown. Audience award winners will be announced tomorrow afternoon at the Closing Night film, Despicable Me. The Los Angeles Film Festival, presented by The Los Angeles Times, with its central hub at L.A. LIVE, began Thursday, June 17 and will end on Sunday, June 27.
“There were thousands of movie fans at the festival this year, discovering new stories from our talented filmmakers,” said Film Independent Executive Director Dawn Hudson. “We are delighted to have the support of the Los Angeles film-going community for these films and their creators.”
The two top juried awards of the Los Angeles Film Festival are the Narrative Award and Documentary Award, each carrying an unrestricted $50,000 cash prize, funded by Film Independent, for the winning film’s director. The awards were established by the Festival encourage independent filmmakers to pursue their artistic ambitions. "In a year that celebrated an exhilarating spectrum of American and international cinema, it's so fitting that these jury awards reflect the incredible diversity of the Festival," said Festival Director Rebecca Yeldham.
The Narrative Award recognizes the finest narrative film in competition at the Festival and went to Pernille Fischer Christensen for A Family (En Familie). The Documentary Award recognizes the finest documentary film in competition at the Festival and went to J. Clay Tweel for Make Believe. The award for Best Ensemble Performance in the Narrative Competition went to Sabrina Lloyd, James Urbaniak, Lynn Cohen, Harry Chase, Nate Smith and Kamel Boutros for their performance in Adam Reid’s Hello Lonesome. Given to an actor or actors from an official selection in the Narrative Competition, this is the seventh year the award has been given at the Festival. The award for Best Narrative Short Film went to Pablo Larcuen’s My Invisible Friend. The award for Best Documentary Short Film went to Tomasz Wolski’s The Lucky One. Beomsik Shimbe Shim’s Wonder Hospital won the award for Best Animated Short Film.
The Narrative Feature Competition jury was comprised of director Charles Burnett, screenwriter/producer Larry Karaszewski, and LA Weekly film critic Ella Taylor. The Documentary Feature Competition jury was comprised of director/actress Karen Moncrief, director Arthur Dong, and film critic and journalist Robert Abele. The Shorts Competition jury was comprised of writer/performer Sandra Tsing Loh, actor Andrew Garfield, and director Tommy O’Haver.
The 2010 Los Angeles Film Festival screened over 200 feature films, shorts, and music videos, representing more than 40 countries. This year, the Festival received more than 4,700 submissions from filmmakers around the world. The final selections represent 28 World, North American, and U.S. premieres, which more than doubled from 2009. The number of films competing in the narrative and documentary competition categories also increased this year from 13 to 18, of which half are World premieres.
The Festival kicked off on Thursday, June 17 with the Opening Night film The Kids Are All Right, directed by Lisa Cholodenko. Summit Entertainment’s The Twilight Saga: Eclipse, directed by David Slade, had its world premiere at the Festival on Thursday, June 24. The Closing Night film selection was Universal Pictures’ Despicable Me, directed by Chris Renaud and Pierre Coffin.
In lieu of one Centerpiece Premiere, this year’s Festival held a number of high-profile Gala Screenings, which included: Sony Pictures Classics’ Animal Kingdom, directed by David Michod; Fox Searchlight’s Cyrus, directed by Jay & Mark Duplass; the world premiere of Mahler on the Couch, directed by Percy and Felix Adlon; the North American premiere of Revolución, a series of short films directed by Mariana Chenillo, Fernando Eimbcke, Amat Escalante, Gael García Bernal, Rodrigo García, Diego Luna, Gerardo Naranjo, Rodrigo Piá, Carlos Reygadas, and Patricia Riggen; and Paramount Vantage’s Waiting for Superman, directed by Davis Guggenheim.
In addition, the Festival held Conversations with Ben Affleck, Sylvester Stallone, John Lithgow, Roger Corman, Christopher Nolan, and Edgar Wright, with panelists and moderators including J.J. Abrams, Jeremy Renner, Curtis Hanson, Joe Dante, Peter Fonda, Peter Bogdanovich, Julie Corman, and Elvis Mitchell. Coffee Talks, Tech Talks, Poolside Chats at the JW Marriot Pool at L.A. LIVE, the new Seize the Power: Marketing & DIY(stribution) Symposium, and free outdoor anniversary screenings of Desperately Seeking Susan and Back to the Future were held throughout the ten days.
Academy Award-winning director Kathryn Bigelow was this year’s Guest Director of the 2010 Los Angeles Film Festival. In her role as Guest Director, Bigelow attended the 9th annual Filmmaker Retreat at Skywalker Ranch in Marin County, California, a gathering of Festival filmmakers, special invited artists and Festival staff. Jonathan Gold, Quincy Jones and Paul Reubens served as this year’s Artists in Residence. As Artists in Residence, each programmed an event that inspired their work. Jonathan Gold selected Katsuyuki Motohiro’s Udon, followed by a conversation about food and film, Quincy Jones selected Steven Spielberg’s The Color Purple, followed by a conversation about movies and music, and Paul Reubens chose Frank Capra’s You Can’t Take It With You, followed by a conversation about classics and comedy.
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Awards were given out in the following categories:
Narrative Award (for Best Narrative Feature)
Winner: A Family (En Familie) directed by Pernille Fischer Christensen
Writers: Kim Fupz Aakeson, Pernille Fischer Christensen
Producers: Sisse Graum Jørgensen, Vinca Wiedemann
Cast: Jesper Christensen, Lene Maria Christensen, Line Kruse, Pilou Asbæk, Anne Louise Hassing
Film Description: (Denmark) The conflict between love and duty plays out in this stunning, award-winning saga about a successful Danish family that faces agonizing choices when its charismatic patriarch falls ill.
The Narrative Award carries an unrestricted cash prize of $50,000 funded by Film Independent, offering the financial means to help filmmakers transfer their vision to the screen. The award recognizes the finest narrative film in competition, and is given to the director. A special jury selects the winner, and all narrative feature-length films screening in the Narrative Competition section were eligible.
In bestowing Pernille Fischer Christensen with the Narrative Award, the Jury stated: “En Familie (A Family) is a film that on all levels was deemed outstanding. Insightfully directed by Pernille Fischer Christensen, and featuring heartbreaking performances by Jesper Christensen and Lene Maria Christensen, the film delicately dramatizes the wrenching choices a young woman must make as she navigates the ties of tradition, guilt, and love that bring a Danish family together when its patriarch faces his final days.”
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Documentary Award (for Best Documentary Feature)
Winner: Make Believe directed by J. Clay Tweel
Producer: Steven Klein
Film Description: (Japan/South Africa/USA) Armed with magic hoops, decks of cards and homegrown illusions, six hopefuls from around the world prepare for Las Vegas’ World Magic Seminar, and the chance to win the title of Teen World Premiere.
The Documentary Award carries an unrestricted cash prize of $50,000 funded by Film Independent, offering the financial means to help filmmakers transfer their vision to the screen. The award recognizes the finest documentary film in competition, and is given to the director. A special jury selects the winner, and all documentary feature-length films screening in the Documentary Competition section were eligible.
In bestowing J. Clay Tweel with the Documentary Award, the Jury stated: “Using the non-fiction competition genre, Make Believe takes advantage of the suspense narrative structure to transport audiences into an infinitely richer experience: the disappearing/appearing act that is a teenager’s bumpy road to belonging and identity. The film’s incisive layering of humor, drama, humanism, observational acuity and upended expectations does wonderful emotional justice to the film’s charismatic cast of magician hopefuls.”
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Best Ensemble Performance in the Narrative Competition
Winner: Sabrina Lloyd, James Urbaniak, Lynn Cohen, Harry Chase, Nate Smith and Kamel Boutros in Adam Reid’s Hello Lonesome
Film Description: With an enchanting mixture of laughter and longing, the worlds of six, eclectic, lonely individuals are woven together as they explore those age-old human desires: to love and be loved.
In bestowing the actors with Best Ensemble Performance, the Jury stated: The ensemble cast of Hello Lonesome gave hilarious, touching portrayals of lovers and friends who ought not to gel in any universe we'd recognize, but do by some persuasive miracle of weird karma. We also commend their director Adam Reid, for enabling them.
****
Best Narrative Short Film
Winner: My Invisible Friend by Pablo Larcuen
Producers: Andrea Puig, Christian Rodrigo
Cast: Pablo Vazquez, Montse Marti, Jordi Romanos, Sergio Huguet
Description: (Spain) We all had imaginary friends in our lives but Tomas’ may just be the best.
In bestowing Pablo Larcuen with Best Narrative Short Film, the Jury stated: My Invisible Friend popped as a hilarious, rude, touching tale with many unexpected twists. Pitch-perfect in its own dark way, it earned its ironic yet heartfelt storybook ending.
****
Best Documentary Short Film
Winner: The Lucky Ones by Tomasz Wolski
Producer: Anna Gawlita Kijora
Description: (Poland) Life’s milestones are viewed through the window of a Polish government registry office.
In bestowing Tomasz Wolski with Best Documentary Short Film, the Jury stated: In The Lucky Ones, the entirety of the human experience - milestones of birth, marriage and death - are lyrically captured in the simple daily exchanges of a Polish registry office. It is a humorous, bittersweet celebration of the poetry of ordinary life.
****
Best Animated Short Film
Winner: Wonder Hospital by Beomsik Shimbe Shim
Producer: Beomsik Shimbe Shim
Cast: Winona Regan
Description: (South Korea/USA) A look at the puzzling illusion of beauty through a blend of 3D, CGI, and live-action puppetry.
In bestowing Beomsik Shimbe Shim with Best Animated Short Film, the Jury stated: Wonder Hospital is a feat of pure imagination. Its inventive mix of animation and puppetry evokes a hauntingly surreal landscape of the mind and body.
****
ABOUT THE 2010 LOS ANGELES FILM FESTIVAL
Now in its sixteenth year, the Los Angeles Film Festival is widely recognized as a world-class event, showcasing the best of new American and international cinema and providing the movie-loving public with access to some of the most critically acclaimed filmmakers, film industry professionals, and emerging talent from around the world. Festival features unique signature programs including the Filmmaker Retreat, Ford Amphitheater Outdoor Screenings, Poolside Chats, and more. Additionally, the Festival screens short films created by high school students and has a special section devoted to music videos. Over 200 features, shorts, and music videos from more than 40 countries make up the main body of the Festival.
The Los Angeles Film Festival is presented by the Los Angeles Times and is supported by L.A. LIVE and Premier Sponsor ZonePerfect® Nutrition Bars and Principal Sponsors Kodak and Subaru. Special support is provided by the National Endowment for the Arts and The Academy Foundation of the Academy of Motion Picture Arts and Sciences. The Standard, Downtown LA is the official Host Hotel, American Airlines is the Official Airline Partner, WireImage is the Official Photography Agency, and PR Newswire is the Official Breaking News Service of Film Independent.
More information can be found at LAFilmFest.com
ABOUT FILM INDEPENDENT
Film Independent is a 501 (c)(3) non-profit arts organization that champions independent film and supports a community of artists who embody diversity, innovation, and uniqueness of vision. Film Independent helps filmmakers make their movies, builds an audience for their projects, and works to diversify the film industry. Film Independent’s Board of Directors, filmmakers, staff, and constituents are comprised of an inclusive community of individuals across ability, age, ethnicity, gender, race, and sexual orientation. Anyone passionate about film can become a member, whether you are a filmmaker, industry leader, or film lover.
With over 250 annual screenings and events, Film Independent provides access to a network of like-minded artists who are driving creativity in the film industry. Film Independent offers free Filmmaker Labs for selected writers, directors, and producers; provides cut-rate services for filmmakers; and presents year-round networking opportunities. Film Independent’s mentorship and job placement program, Project:Involve, pairs emerging culturally diverse filmmakers with film industry professionals. Film Independent produces the Los Angeles Film Festival, celebrating the best of American and international cinema, and the Spirit Awards, a celebration honoring films and filmmakers that embody independence and dare to challenge the status quo.
For more information or to become a member, visit FilmIndependent.org.
631 Views
Posted June 25, 2010 by
On Thursday, June 24, 2010 the gala World Premiere of The Twilight Saga: Eclipse took place at Film Independent's Los Angeles Film Festival. The screening was held in the new Nokia Theatre at L.A. LIVE. This was certainly one of the most highly-anticipated premieres of the year and was accompanied by the worldwide media attention that comes with such a high profile event.Lead actor Michael Welch (Mike Newton) was accompanied by his girlfriend, actress Marissa Lefton. Michael also posed with his good friend and fellow castmate Justin Chon. Close by was actress Christian Serratos. Several proud moms of the film's cast and fans were present as well.
Here are some exclusive personal pictures (with their approval, of course) of the above actors, friends, and family as they arrived on the red carpet, signed autographs, posed in front of the theatre, and got ready for the afterparty following the screening:
GALLERY (17 photos)
991 Views
Posted June 24, 2010 by
Directed by Lisa Cholodenko from a script she co-wrote with Stuart Blumberg, The Kids Are All Right is a comedic drama about a suburban Los Angeles family with a twist. The film easily transitions from clever and witty to poignant and moving, taking the viewer on a roller coaster ride of emotions that gradually loses control right up until its breathtaking finish.Julianne Moore and Annette Bening play a married couple whose two young children, portrayed by Josh Hutcherson and Mia Wasikowska, decide to seek out their sperm donor father. Laser (Hutcherson) is only a minor, so his older sister Joni (Wasikowska) puts the wheels in motion that will satisfy the boy's curiosity and desire to put the missing piece into the familial puzzle. He's ready for whatever comes, but what about the mystery man? And Laser's sister and moms? This is certainly new territory for all of them and we get to witness, however painful, as the layers are peeled and realities surface.
Julianne Moore is outstanding as Jules, the slightly vulnerable, occasionally clueless wife and loving mom who can't quite get a handle on who she is or is supposed to be. Moore proves once again why she is one of our most gifted actors. Annette Bening's Nic is the taskmaster mom who, when not receiving the attention she demands from her family, finds comfort in a bottle. Her performance is heartbreaking. As 15-year-old Laser, Hutcherson is every parent's dream son, the sensitive teen and thoughtful athlete whose wisdom and level of maturity seems to have bypassed his adolescence and gone straight to young adult. He's one of the most sought after and talented under-21-year-olds in the business and viewers will see why. Wasikowska's acting is understated yet effective as take-charge Joni, the inquisitive 18-year-old who triggers the family "reunion" by stepping in where her underage brother cannot. And Ruffalo's portrayal of Paul strikes the perfect balance of confidence and confusion. He's a successful restaurateur whose life is turned inside out yet seems to welcome the upheaval in a perverse way.
It's clear from the start that this is no low-budget indie. Produced by a consortium of independent firms and financiers, the relatively large $10 million budget is a testament to the faith the investors had in Cholodenko and gives The Kids Are All Right a Hollywood look and feel. High production values are consistent throughout, from the brilliant lighting to the sharp, crisp sound and authentic sets.
The sweet soundtrack is filled with emotionally evocative tunes, enhanced by several visual nods to turntables and real vinyl. The rare granting of song rights by Joni Mitchell punctuates one of the most poignant scenes in the movie. Camerawork by Igor Jadue-Lillo is observant but never intrusive. Editor Jeffrey M. Werner's focus on dialogue cues rather than images helps move the film along and never allows the viewer to dwell too much on some of the improbabilities of the script.
But most of all, The Kids Are All Right is story-driven. Less money might have netted a more obscure cast and the film would still have been a crowd-pleaser. But the presence of these veteran lead actors (yes, even the kids) helps the film fire on all cylinders. It should be said that this would still be a powerful, effective film even if the parents were heterosexual. But it certainly wouldn't be as funny. Cholodenko makes full use of the alternative nature of the family to set up some hilarious moments that are a perfect counterpart to what might otherwise be an overly melodramatic story. It's a winning combination.
17 Views
Posted June 23, 2010 by
On Friday, June 25, 2010 the World Premiere of The Wheeler Boys (formerly Touchback) took place at the Los Angeles Film Festival. Featured in the Summer Showcase section, this American indie was four years in the making and one of the "Festival Choice" best bets I selected a couple of weeks ago. It was the winner of the Netflix FIND Your Voice Film Competition, conducted in association with Film Independent, the organization behind the Los Angeles Film Festival. Based on a Max Doty novel, The Wheeler Boys marks the feature directorial debut of Philip G. Flores. Co-written by Flores and Doty, the movie stars Alex Frost, Lorenzo James Henrie, Portia Doubleday, Haley Ramm, Alex Russell, and Billy Campbell. It's a provocative coming-of-age film and one of those sweet little gems that I long to discover among the hundreds of screenings I attend at festivals all year.
The film first attracted my interest for a number of reasons, its premier cast topping the list. Star Alex Frost is one of America's brightest and most talented young indie actors. His portrayal of the homicidal Alex in Gus Van Sant's 2003 classic Elephant is considered by many to be one of the best performances by any teenage actor in the past decade. Now 23, he recently appeared in two Top Picks from festivals I've attended. Those films (and the festivals at which I first saw them) include The Lost (2006 SXSW Film Festival) and The Vicious Kind (2009 Sundance Film Festival), which was nominated for two Film Independent Spirit Awards. Co-star Henrie, 16, is a relative newcomer -- he had a small role as a "Vulcan bully" in Star Trek. He may be best known among Disney fans as the younger brother of David Henrie, star of the cable channel's long-running Wizards of Waverly Place. Haley Ramm also showed up in two of my festival favorites: Into the Wild (2007 Tribeca Film Festival) and Skateland (2010 SXSW Film Festival). Portia Doubleday did a terrific job in the Michael Cera vehicle Youth in Revolt, which I saw at the 2009 Toronto International Film Festival.
In The Wheeler Boys, Ted (Lorenzo James Henrie) is an innocent high school freshman who idolizes and worships his older brother Truck (Alex Frost), a senior and football star. Lacking the affections of his hard-drinking chain-smoking distant and abusive father, the young boy is willing to do just about anything to get Truck's approval, even if it means crossing the line into dangerous and risky territory. Ted soon learns that Truck and his buddies have formed a group, The Kings, which targets freshman girls for sexual conquest. Ted begs to be taken into the fold as a rite of passage into manhood and the world of his older brother.
There will be another screening at the Regal Cinemas L.A. LIVE Stadium 14 this Sunday, June 27th at 4:15 PM. Advance tickets are gone but some tickets may be sold at the door just before show time. Even if you won't be able to attend the festival, you can still see The Wheeler Boys from anywhere in America -- and it won't cost you a thing. To celebrate the film's premiere and award, Netflix will stream the movie online for free to members and non-members alike from now until Sunday, June 27th at 8:00 PM Pacific Time at www.netflix.com/findyourvoice. In addition, Netflix unlimited plan members can watch the film on their TVs via Netflix-ready Blu-ray disc players, LG Internet TVs, Samsung Blu-ray players, the Roku digital video player, the Xbox 360, Nintendo Wii, Sony PS3, iPad, and TiVo.
I spoke with director/co-writer Philip G. Flores about the genesis of the idea, the casting process, and the importance of films like The Wheeler Boys to the future of American cinema.
The audio interview can be found at larryrichman.com. You can listen live and download the mp3.
670 Views
Posted June 18, 2010 by
Last night I had the great privilege of attending the 18th Annual Nationwide Young Playwrights Festival at the Stella Adler Theatre on the world-renowned corner of Hollywood Boulevard and Highland Avenue. The Blank Theatre Company created this event in 1993 under the tutelage of Artistic Director/Producer Daniel Henning and Artistic Producer Noah Wyle. The festival itself is now older than most of the playwrights whose works have been selected this year. Imagine being a teen having your own play produced onstage in a Hollywood theater with professional directors and actors. That is the mission of the Nationwide Young Playwrights Festival, which solicits submissions of plays by young writers from all over the country. From these, an esteemed group of producers, directors, actors, and other industry professionals choose the semifinalists. Finally, 12 plays are selected to be produced onstage -- three each weekend for four weekends in June.
This is the third week of three one-act plays, which included The Twilight Saga's Michael Welch starring in May. Directed by Sara Israel, May was authored by 14-year-old May Treuhaft-Ali from Hunter College High School in New York City. In addition to Welch, the play featured Heather Morris (Glee) and Will Barker.
There are three more shows: tonight and tomorrow night at 8:00 PM and Sunday at 2:00 PM. You can get tickets at the Blank Theatre Company site. Audience members are welcome to greet the actors and writers after the performance.
Here are some pictures I shot as all gathered onstage after the play to celebrate.
COMPLETE GALLERY
1076 Views
Posted June 16, 2010 by
In just 24 hours I'll be in sunny Southern California for the 2010 Los Angeles Film Festival. I'm mainly going for the movies, of course, and will try to see as many as possible. I'll also be photographing Q&As following screenings and meeting the actors and filmmakers. Parties abound although I tend to avoid them in favor of filmgoing. But sometimes a bite to eat is a nice thing to have and there are several schmooze events on my schedule. So, as always, you can expect plenty of pictures and reviews, and perhaps some videos and interviews. That said, there is a basic conflict between attending screenings and being a working journalist. Seeing films does not necessarily lend itself to posting reports online (unless one brings a large staff -- it's just me, yo). In the past I've had precious little time to blog the way I would normally like to do. Fortunately, Twitter has changed all that.
Beginning with the 2009 Toronto International Film Festival last September, I began live tweeting. Not only is it more immediate, obviously, than writing articles at the end of the day, but I hope it allows you to feel as though you're right there beside me. At least that's what many have said, so it's become my reporting medium of choice. I'll be doing the same at LAFF on my Twitter.
In past years at LAFF I've found that their unique scheduling pattern also provides some time to post pictures and video, along with capsule reviews for the films I attend, during weekday downtimes. Like most festivals, I'll probably attend four screenings back-to-back on Saturday and Sunday, as they begin around 1:30 PM. But there are only two time slots for films on Friday after 7:30 PM and three on weekdays beginning Monday after 4:45 PM, with a few exceptions. Weekdays are open from morning well into the afternoon. Free time is quite a luxury for a film festival attendee. So I hope to post daily reports on this blog as much as possible.
Scheduling always takes some sleight of hand. Film festivals present unique challenges. Putting together a calendar without conflicts is like playing chess with one hand while assembling a jigsaw puzzle with the other. If you can survive the stress you just might end up with something that looks exciting. It begins with the "must-sees" (see previous posts) and moves on to promising little gems, fun-filled parties, in-depth interviews, and maybe a few glitzy red carpets. Such is the life of a film festival journalist and I wouldn't trade it for the world. I try to fill my schedule with both narrative features as well as documentaries, along with the occasional shorts program to see what future filmmakers have to offer.
In some cases the movies I want to see have only one screening so tough decisions have to be made. Most films do show more than once, but in many time slots I might have two or three "must-see" titles overlapping. These options are nice to have but a final selection ends up being a function of where I am at any given time and how far away I am in time and distance from the next one. Bottom line: I can't say with certainty exactly what I'm going to see. In many cases those decisions will have to be made on the spot. That makes LAFF different than just about any other festival I attend because almost all of them require you to select your screenings in advance. Fests that work this way have options but also make life a bit more complicated. Such is the case with my 2010 Los Angeles Film Festival calendar. But that's what makes this event so much fun and, after a great deal of hard work, my schedule is shaping up to be one of the best. With any luck, you'll end up seeing some of these movies at your local multiplex or art house cinema.
Now the pre-festival coverage is over and the on-the-spot tweeting is about to begin. My heart is beating faster as I continue to prepare for my arrival in Los Angeles tomorrow. It's hard to believe I'll be there in just 24 hours. Hopefully you'll be able to join me -- at least virtually. See you there!
573 Views
Posted June 13, 2010 by
There are just a few days until Opening Night of the 2010 Los Angeles Film Festival and I've been previewing some of the titles which have piqued my interest. In the past week I've selected The Kids Are All Right, Welcome to the Rileys, The Wheeler Boys, and Revolución as best bets. My typical festival schedule is filled with narrative features, i.e., works of fiction. Although I'm certainly not averse to seeing documentaries -- at some festivals all of my Top Picks have turned out to be docs -- it's the narrative which generally defines what an indie is for me. The most promising ones are, theoretically, those selected by the festivals as part of their Narrative Feature competitions. So I always try to see as many of these movies as possible.
There are nine films in this year's Narrative Feature competition, including four from the U.S. (another is a U.S./Iranian co-production). Here are a few of the American entries.
Shown are TITLE, director, cast, country of origin, section in festival, what type of premiere it is, and a brief synopsis, along with the screening schedule including date, time, and venue. Links will take you to a longer synopsis provided by the festival at the official site www.lafilmfest.com/2010. My readers know I prefer not to post spoilers.
The Wolf Knife
Directed by Laurel Nakadate
Starring Christina Kolozsvary and Julie Potratz
USA
Narrative Competition
World Premiere
A road movie where no one is ever seen on the road, this striking, unconventional feature detours from genre conventions as it follows two Floridian teenaged girls on a journey fraught with sexual mystery and suppressed desire.
There will be three screenings:
Sunday, June 20th
7:30 PM
Downtown Independent
Tuesday, June 22nd
5:00 PM
Regal 9
Wednesday, June 23rd
10:00 PM
Regal 13
Tickets are still available for all three screenings at the LAFF site.
Director/writer/producer/editor/cinematographer Laurel Nakadate and lead actress Christina Kolozsvary are expected to attend..
====================================================================
Hello Lonesome
Directed by Adam Reid
Starring Sabrina Lloyd, James Urbaniak, Lynn Cohen, Harry Chase, Nate Smith, and Kamel Boutros
USA
Narrative Competition
World Premiere
With an enchanting mixture of laughter and longing, the worlds of six eclectic, lonely individuals are woven together as they explore those age-old human desires: to love and be loved.
James Urbaniak is a veteran of film and television. He appeared in Fay Grim, one of my Top Picks from the 2006 Toronto International Film Festival, and Beware the Gonzo, which was my #2 Top Pick from the 2010 Tribeca Film Festival less than two months ago. Sabrina Lloyd appeared in Then She Found Me, one of my Top Picks from the 2007 Toronto International Film Festival.
There will be three screenings:
Friday, June 18th
7:30 PM
Regal 13
Tuesday, June 22nd
10:15 PM
Regal 11
Wednesday, June 23rd
5:30 PM
Regal 12
Tickets are still available for all three screenings at the LAFF site.
Director/writer/producer/cinematographer Adam Reid is expected to attend along with lead actors Lynn Cohen, Sabrina Llloyd, and James Urbaniak.
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The New Year
Directed by Brett Haley
Starring Trieste Kelly Dunn, Ryan Hunter, Kevin Wheatley, Linda Lee McBride, Marc Petersen, and Lance Brannon
USA
Narrative Competition
West Coast Premiere
Featuring a breakout performance by Trieste Kelly Dunn as a young woman who’s put her own life on hold, this note-perfect, bittersweet drama of self-discovery is a quiet revelation.
The New Year is writer/director Brett Haley's feature directorial debut but he's no novice to the film industry. Haley has written, directed, or worked in some other capacity on 14 prior features and shorts, including serving as Assistant to Director John Hillcoat on the brilliant 2009 film The Road.
There will be three screenings:
Friday, June 18th
10:15 PM
Regal 11
Tuesday, June 22nd
4:45 PM
Regal 11
Wednesday, June 23rd
7:30 PM
Regal 13
Tickets are still available for all three screenings at the LAFF site.
Director/writer/producer/editor Brett Haley is expected to attend along with lead actors Trieste Kelly Dunn, Linda McBride, Ryan Hunter, and Kevin Wheatly.
832 Views
Posted June 12, 2010 by
The 2010 Los Angeles Film Festival officially kicks off this Thursday night and, as I do every year, I'm spotlighting some best bets -- titles on my must-see list. Many of these choices have been selected for my schedule due to the fact that they have actors or filmmakers with a good track record, films that have turned out to be among my Top Picks from previous festivals I've attended. Over the past several days I've previewed The Kids Are All Right and Welcome to the Rileys. Here are some more selections, including references to those festivals where these actors and filmmakers caught my attention.
Shown are TITLE, director, cast, country of origin, section in festival, what type of premiere it is (if any), a brief synopsis, and the film's connection to my previous festival Top Picks, along with the screening schedule including date, time, and venue. Links will take you to the film's synopsis provided by the festival at the official site www.lafilmfest.com/2010. My readers know I prefer not to post spoilers, although there are several films I've written about here on this blog over the past couple of years from casting through filming and post-production.
The Wheeler Boys (formerly Touchback)
Directed by Phillip G. Flores
Starring Alex Frost, Lorenzo James Henrie, Portia Doubleday, Haley Ramm, Alex Russell, and Billy Campbell
USA
Summer Showcase
World Premiere
High school freshman Ted (Lorenzo James Henrie) desperately wants a closer connection with his older brother and senior football star, Truck (Alex Frost). To do so, Ted seeks initiation into a group of boys called “The Kings” by entering their contest to have sex with freshman girls. The corruption beneath The Kings is soon revealed and Ted must expose the ugly truth about the brother he once idolized.
Star Alex Frost is one of America's brightest and most talented young indie actors. His portrayal of the homicidal Alex in Gus Van Sant's 2003 classic Elephant is considered by many to be one of the best performances by any teenage actor in the past decade. Now 23, he recently appeared in two Top Picks from festivals I've attended. Those films (and the festivals at which I first saw them) include The Lost (2006 SXSW Film Festival) and The Vicious Kind (2009 Sundance Film Festival), which was nominated for two Film Independent Spirit Awards. Co-star Henrie, 16, is a relative newcomer -- he had a small role as a "Vulcan bully" in Star Trek. He may be best known among Disney fans as the younger brother of David Henrie, star of the cable channel's long-running Wizards of Waverly Place. Haley Ramm also showed up in two of my festival favorites: Into the Wild (2007 Tribeca Film Festival) and Skateland (2010 SXSW Film Festival). Portia Doubleday did a terrific job in the Michael Cera vehicle Youth in Revolt, which I saw at the 2009 Toronto International Film Festival.
There will be two screenings:
Friday, June 25th
8:00 PM
Regal 10
Sunday, June 27th
4:15 PM
Regal 9
Friday's screening is Rush Line only: advance tickets are gone but some tickets may be sold at the door just before show time. Tickets are still available for Sunday's screening at the LAFF site.
Even if you won't be able to attend the festival, you can still see The Wheeler Boys from anywhere in America -- and it won't cost you a thing. It was the winner of the Netflix FIND Your Voice Film Competition, conducted in association with Film Independent, the organization behind the Los Angeles Film Festival. To celebrate the film's premiere and award, Netflix will stream the movie online for free to members and non-members alike for a 48-hour period from Friday, June 25th at 8:00 PM Pacific Time (as the film is premiering at the festival) until Sunday, June 27th at 8:00 PM Pacific Time at www.netflix.com/findyourvoice. In addition, Netflix unlimited plan members can watch the film on their TVs via Netflix-ready Blu-ray disc players, LG Internet TVs, Samsung Blu-ray players, the Roku digital video player, the Xbox 360, Nintendo Wii, Sony PS3, iPad, and TiVo.
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Revolución
Directed by Diego Luna, Gael Garcia Bernal, Rodrigo Pla, Rodrigo Garcia, Gerardo Naranjo, Mariana Chenillo, Fernando Eimbcke, Amat Escalante, Patricia Riggen, and Carlos Reygadas
Mexico
Galas
In 1910, amid rampant political and social unrest in Mexico, revolutionaries rose up against the government. This November, one hundred years later, again amid political and social strife, Mexico City’s Zocalo Square will once again sound with the celebratory cry of the Mexican Revolution. Adding their voices to the cries are the filmmakers of Revolución, an extraordinary omnibus of ten short films by Mexico’s top talents, each of whom provides perspectives as distinctive as the ideals of the revolutionaries who fought together so long ago.
Luna and Bernal are an incomparable team as actors, producers, and now, with Revolución, directors. They are best known in the U.S. as co-stars of the 2001 classic Y tu mamá también. I first met Bernal at the 2006 Toronto International Film Festival, where he served as Executive Producer on Drama/Mex. Luna and Bernal teamed up again as Executive Producers on Voy a explotar, which I saw at its North American Premiere at the 2008 Toronto International Film Festival. The film went on to wow audiences around the world on the festival circuit in 2008-2009.
There will be two screenings:
Tuesday, June 22nd
8:00 PM
Regal 1
Wednesday, June 23rd
5:00 PM
Regal 9
Tickets are still available for both screenings at the LAFF site.
860 Views
Posted June 12, 2010 by
Judging from their popularity in theaters, on television, and at the numerous websites which post them, movie trailers continue to fascinate the public. Fans await the latest clips with bated breath as though the stars themselves were about to walk into their homes. So it's always surprising when, in discussing the award-winning ones, I'm asked, "What?? There are awards for trailers?" Yes, there are, and the 11th Golden Trailer Awards have just been announced."Across the board, 2010 was a big year for innovation," remarked co-founder and show executive producer Monica Brady. "A lot of people made creative use of both new and traditional media to entertain and draw in their audiences." This year's ceremony was hosted by comedian Dean Edwards and took place at the El Rey Theatre in Los Angeles.
Here is the complete list of winners and nominees by Film Title, Studio/Production Company, Trailer house. * Nominated trailers are listed in alphabetical order by title.
Best In Show GTA11
Winner:
The Cove,
Roadside Attractions/Lionsgate, AV Squad
Nominees:
* A Serious Man "Trailer 3", Focus Features, Mark Woollen & Associates
* Brothers "Moving On/U2", Lionsgate, Seismic Productions
* District 9 "Domestic Trailer - Warning", Sony Pictures Entertainment, Create Advertising Group
* This is It "Domestic Trailer 1", Sony Pictures Entertainment, Create Advertising Group
Best Action
Winner:
Sherlock Holmes,
Warner Bros., Mojo
Nominees:
* Avatar "Theatrical Trailer", 20th Century Fox, Wild Card
* Gamer "Trailer 1A", Lionsgate, Seismic Productions
* Iron Man 2 "Mr. Stark", Paramount Pictures, Create Advertising Group
Best Animation/Family
Winner:
Shrek Forever After "Best Ever" (Trailer #2),
Paramount Pictures, Aspect Ratio
Nominees:
* Alice in Wonderland "Return", Walt Disney Pictures, Create Advertising Group & Trailer Park
* How to Train Your Dragon "Prepare" (Trailer #3), Paramount Pictures, Aspect Ratio
* The Karate Kid "Trailer 2", Columbia Pictures, Vibe Creative, Inc.
Best Comedy
Winner:
Get Him to the Greek "Trailer 4: The Job/Red",
Universal, Workshop Creative
Nominees:
* Hot Tub Time Machine "Guys Weekend", MGM/UA, Ignition Creative
* I Can Do Bad All By Myself "Trailer 1A", Lionsgate, Seismic Productions
* Youth in Revolt, The Weinstein Company, Motive
Best Documentary
Winner:
The Cove,
Roadside Attractions/Lionsgate, AV Squad
Nominees:
* Art of the Steal, IFC Films, Mark Woollen & Associates
* The September Issue "Icon Trailer", Roadside Attractions, Trailer Park
* This is It "Inspire", Sony Pictures Entertainment, Create Advertising Group
Best Drama
Winner:
Brothers "Moving On/U2",
Lionsgate, Seismic Productions
Nominees:
* Crazy Heart, Fox Searchlight, Motive
* The Messenger, Oscilloscope Pictures, Mark Woollen & Associates
* Precious - Based on the Novel "Push" by Sapphire, Lionsgate, Mojo
Best Horror
Winner:
Antichrist,
IFC Films, Kinetic Trailers
Nominees:
* The Crazies "Changing", Overture Films/Participant Media, Buddha Jones
* The Fourth Kind "The Truth", Universal, The Cimarron Group
* A Nightmare on Elm Street "Wake Up/Clash" (Trailer 4), Warner Bros., Aspect Ratio
Best Independent Trailer
Winner:
A Serious Man "Trailer 3",
Focus Features, Mark Woollen & Associates
Nominees:
* Away We Go "Trailer 2", Focus Features, Mark Woollen & Associates
* The Good Heart "Greenband Theatrical", Magnolia Pictures, Kinetic Trailers
* Harry Brown, Samuel Goldwyn Films/DP, Alkemi Entertainment
Best Music
Winner:
This is It "Domestic Trailer 1",
Sony Pictures Entertainment, Create Advertising Group
Nominees:
* Crazy Heart, Fox Searchlight, Motive
* Greenberg "Trailer 1", Focus Features, Mark Woollen & Associates
* It Might Get Loud "Three Icons", Sony Pictures Classics, The Grossmyth Company
Best Romance
Winner:
The Young Victoria,
Apparition/GK Films, Mojo
Nominees:
* Bright Star, Apparition, Mojo
* New York I Love You, Vivendi Entertainment, Mark Woollen & Associates
* The Time Traveler's Wife, New Line Cinema, Mojo
Best Thriller
Winner:
District 9 "Domestic Trailer - Warning",
Sony Pictures Entertainment, Create Advertising Group
Nominees:
* Gamer "Trailer 1A", Lionsgate, Seismic Productions
* Salt "Salt Trailer #2", Sony Pictures Entertainment, Vibe Creative, Inc.
* Shutter Island "Domestic Trailer", Paramount Pictures, Ignition Creative
Best Video Game Trailer
Winner:
Rage "Rage Announce Trailer",
Electronic Arts, Hammer Creative
Nominees:
* Batman Arkham Asylum "Villains", Warner Bros. Interactive Entertainment, Hammer Creative
* Clash of the Titans Video Game "Epic Battles", Namco Bandai Games, Eyestorm Productions
* The Saboteur "Story Trailer", Electronic Arts, Hammer Creative
Golden Fleece
Winner:
Bad Lieutenant: Port of Call New Orleans,
First Look Studios, Mob Scene
Nominees:
* All About Steve "Trailer A", 20th Century Fox, The Refinery
* Cop Out "Tradition", Warner Bros., Create Advertising Group
* The Invention of Lying, Universal, Empire Design
Most Original
Winner:
Cemetery Junction "Teaser",
Sony Pictures Entertainment, Empire Design
Nominees:
* The Limits of Control, Focus Features, Big Science Film
* MicMacs "Boom", Sony Pictures Classics, The Grossmyth Company
* A Serious Man "Trailer 3", Focus Features, Mark Woollen & Associates
Summer 2010 Blockbuster
Winner:
Knight and Day,
20th Century Fox, Wild Card
Nominees:
* The A-Team "Payback", 20th Century Fox, mOcean
* Inception "City", Warner Bros., BLT AV
* Toy Story 3 "New Story", Disney/Pixar, CMP
Trashiest Trailer
Winner:
Human Centipede,
IFC Films, Kinetic Trailers
Nominees:
* ******* Slap "******* Slapped", Bombshell Pictures, Acme Trailer Company
* The Last Resort, Lionsgate, Hungry Monster Entertainment
* Train, Lionsgate, Lionsgate
Non-Show Category Nominees
*These were announced on June 10th, 2010
Best Motion/Title Graphics
Winner:
Away We Go "Trailer 2",
Focus Features, Mark Woollen & Associates
Nominees:
* Bronson "Redband Theatrical", Magnolia Pictures, Kinetic Trailers
* MicMacs "Boom", Sony Pictures Classics, The Grossmyth Company
* Repo Men "Let's Go", Universal, Buddha Jones
Best Sound Editing
Winner:
A Serious Man "Trailer 3",
Focus Features, Mark Woollen & Associates
Nominees:
* The Descent Part 2 "Trailer #1", Lionsgate, Lionsgate
* Inception "Idea", Warner Bros., BLT AV
* Robin Hood "Legend", Universal, Skip Film
Best Trailer - No Movie
Winner:
The Life and Mind of Mark DeFriest,
Found Object Films, Mighty Pictures
Nominees:
* City 40, Chastè Films, Inc., The Butcher Shop
* Red "Out of Games", Summit Entertainment, Happy Hour Creative
* Saving Eve, Ignition Creative
Foreign Trailer Nominees
Best Foreign Action Trailer
Winner:
Solo Quiero Caminar "Fix Cut",
VideoCine/Canana, Fix Comunicacion
Nominees:
* 22 Bullets "German Teaser", Wild Bunch, Trailerhaus GmbH
* The Good, The Bad, The Weird, IFC Films, Mark Woollen & Associates
* Mesrine: Killer Instinct, Momentum Pictures, Empire Design
Best Foreign Comedy Trailer
Winner:
Friendship "German Trailer",
Columbia Pictures, WDA
Nominees:
* In the Loop, IFC Films, Mark Woollen & Associates
* Paradas Continuas: Negocito (Little Business), VideoCine, Fix Communicacion
* St. Trinian's "Rise Up Trailer", NeoClassics Films, Trailer Park
Best Foreign Drama Trailer
Winner:
Balibo,
Paramount/Transmission/Footprint Films, The Solid State
Nominees:
* General Nil, Monolith Films, Trailer and More
* Ondine, Paramount Pictures, The Creative Partnership
* Un Prophete (A Prophet), Sony Pictures Classics, Kinetic Trailers
Best Foreign Horror/Thriller Trailer
Winner:
The Horseman "International Trailer",
Media 8, Hammer Creative
Nominees:
* Antichrist, IFC Films, Kinetic Trailers
* The Eclipse, Magnolia Pictures, Big Science Film
* Wir Sind die Nacht "International Teaser", Constantin Film, Trailerhaus GmbH
Best Foreign Romance Trailer
Winner:
Ondine,
Magnolia Pictures, Big Science Film
Nominees:
* I am Love, Magnolia Pictures, Big Science Film
Most Original Foreign Trailer
Winner:
In The Loop,
IFC Films, Mark Woollen & Associates
Nominees:
* The Baader Meinhof Complex, Vitagraph Films, Mark Woollen & Associates
* The Imaginarium of Doctor Parnassus, Lionsgate Films UK, The Creative Partnership
* MicMacs "Boom", Sony Pictures Classics, The Grossmyth Company
TV Spot Nominees
Best Action TV Spot
Winner:
The Book of Eli "The Path",
Warner Bros., Trailer Park
Nominees:
* Avatar "Kansas", 20th Century Fox, Wild Card
* Clash of the Titans "New Era", Warner Bros., Seismic Productions
* Sherlock Holmes "Escapes", Warner Bros., Trailer Park
Best Animation/Family TV Spot
Winner:
Up "Course is Set",
Walt Disney Studios, Trailer Park
Nominees:
* Ice Age 3: Dawn of the Dinosaurs "Smarter", 20th Century Fox, The Cimarron Group
* Toy Story & Toy Story 2 3D Double Feature "What Toys Do", Disney/Pixar, CMP
* Transformers: Revenge of the Fallen "Secret Transmission Custom Spot", Nickelodeon
Best Comedy TV Spot
Winner:
The Men Who Stare at Goats "Paranormal Goats",
Overture Films, mOcean
Nominees:
* The Hangover "4 Friends", Warner Bros. Pictures, mOcean
* Hot Tub Time Machine "Love Machine", MGM/UA, Trailer Park
* It's Complicated "Jane's List", Universal, Motive
Best Drama TV Spot
Winner:
Brothers "Rage V.15",
Lionsgate, Buddha Jones
Nominees:
* Brooklyn's Finest: 30 TV "Serve", Overture Films, Workshop Creative
* The Hurt Locker "UK TV Spot 1", Optimum Releasing, The Editpool
* My Sister's Keeper "Laughter" :30, New Line Cinema, Mob Scene
Best Foreign TV Spot
Winner:
Coco Before Chanel "UK DVD Spot 1",
Optimum Releasing, The Editpool
Nominees:
* Awaydays "UK DVD Spot 1", Optimum Releasing, The Editpool
* The Lullaby: In Cold Blood, Monolith Films, Trailer and More
Best Graphics in a TV Spot
Winner:
Sherlock Holmes "Genius Review",
Warner Bros., Mojo
Nominees:
* 500 Days of Summer "500 Reviews", Fox Searchlight Pictures, Mark Woollen & Associates
* Ninja Assassin "Blood", Warner Bros., Trailer Park
* Wolverine "Television Main Title", 20th Century Fox, Interlace Media
Best Horror TV Spot
Winner:
Legion "Ice Cream Man",
Screen Gems, Buddha Jones
Nominees:
* Daybreakers "Vampire :60 V4", Lionsgate, Fishbowl
* Orphan "Scream", Warner Bros., Mojo
* Shutter Island "Pedigree", Paramount Pictures, Buddha Jones
Best Independent TV Spot
Winner:
Brothers "Rage V.15",
Lionsgate, Buddha Jones
Nominees:
* The Hurt Locker "UK TV-Spot 1", Optimum Releasing, The Editpool
* Moon "Review", Sony Pictures Classics, Mark Woollen & Associates
* Precious "Glorious V.5", Lionsgate, Seismic Productions
Best Music TV Spot
Winner:
Where the Wild Things Are "Run",
Warner Bros., Mark Woollen & Associates
Nominees:
* 500 Days of Summer "500 Reviews", Fox Searchlight Pictures, Mark Woollen & Associates
* This is It "Dream", Columbia Pictures, Create Advertising Group
* Where the Wild Things Are "Once", Warner Bros., Mark Woollen & Associates
Best Romance TV Spot
Winner:
500 Days of Summer "Boy Meets Girl",
Fox Searchlight, Mark Woollen & Associates
Nominees:
* It's Complicated "Jane's List", Universal, Motive
* The Time Traveler's Wife "Tear Them Apart", Warner Bros., Trailer Park
* Valentine's Day "No Pressure":45, New Line Cinema, Mob Scene
Best Summer Blockbuster 2010 TV Spot
Winner:
Ironman 2 "Razor's Edge",
Paramount Pictures, AV Squad
Nominees:
* Ironman 2 "One", Paramount Pictures, Create Advertising Group
* The Last Airbender "Chosen", Paramount Pictures, mOcean
* Prince of Persia ":30TV Beyond Imagination", Walt Disney Pictures, Workshop Creative
Best Thriller TV Spot
Winner:
The Book of Eli "The Path",
Warner Bros., Trailer Park
Nominees:
* District 9 "Warning", Sony Pictures Entertainment, Create Advertising Group
* The Lovely Bones "Truth", Paramount Pictures, Create Advertising Group
* Shutter Island "Vision", Paramount Pictures, Buddha Jones
Best Video Game TV Spot
Winner:
Batman Arkham Asylum "Boom!",
Warner Bros. Interactive Entertainment, Hammer Creative
Nominees:
* World of Warcraft "Mowhawk Grenade", Blizzard Entertainment, Mojo
Best Voice Over TV Spot
Winner:
Daybreakers "PSA V.4 REV",
Lionsgate, Fishbowl
Nominees:
* Hot Tub Time Machine "Tweet Review", MGM, Trailer Park
* In the Loop "UK DVD Spot 1", Optimum Releasing, The Editpool
* Shelter "UK TV Spot 1", Icon Film Distribution, The Editpool
Most Original TV Spot
Winner:
District 9 "Important Message",
Sony Pictures, mOcean
Nominees:
* 2012 "IHC" :30, Sony Pictures, Mob Scene
* Daybreakers "PSA V.4 REV", Lionsgate, Fishbowl
* Up "Course is Set", Disney/Pixar, Trailer Park
Movie Poster Categories
Best Action Poster
Winner:
District 9: "One Sheet Spaceship",
Sony, Ignition
Nominees:
* The Expendables "Skull Poster", Lionsgate, Ignition
* From Paris With Love "Gun Poster", Lionsgate, Ignition
* Kick-Ass "Lenticular Poster", Lionsgate, Ignition/Virtual Images
Best Animation/Family Poster
Winner:
Marmaduke "Teaser Poster",
20th Century Fox, The Refinery
Nominees:
* Ice Age: Dawn of the Dinosaurs: Scrat in Footprint, 20th Century Fox, The Refinery
* Percy Jackson & The Olympians: The Lightning Thief: Boy w/ Bolt, 20th Century Fox, Ignition
* Where the Wild Things Are: One Sheet, Warner Bros., Mojo
Best Comedy Poster
Winner:
Kick-Ass: "Lenticular Poster",
Lionsgate, Ignition/Virtual Images
Nominees:
* Greenberg "One Sheet", Focus Features, Mojo
* The Men Who Stare at Goats: One Sheet, Overture Films, Ignition
* Saint John of Las Vegas "One Sheet", IndieVest, Mojo
Best Documentary Poster
Winner:
Food Inc.: One Sheet,
Participant Media, The Ant Farm
Nominees:
* Casino Jack and the United States of Money, Magnolia Pictures, The Refinery
* Countdown to Zero, Participant Media, bpg
* The Cove: One Sheet, Roadside Attractions/Lionsgate, Ignition
Best Drama Poster
Winner:
Precious: Based on the Novel "Push" by Sapphire "Broken Hand" Poster,
Lionsgate, Ignition
Nominees:
* Brothers "Final Poster", Lionsgate, Ignition
* Creation, d Films, bpg
* Tyler Perry's Why Did I Get Married Too? "Ring" Poster, Lionsgate, Ignition
Best Horror Poster
Winner:
Daybreakers "Final Posters",
Lionsgate, Ignition
Nominees:
* The Cabin in the Woods "Comic Con Posters", MGM, Ignition
* The Crazies "One Sheet", Overture Films, The Ant Farm
* Final Destination 4 "One Sheet", Warner Bros., Ignition
Best Independent Poster
Winner:
Precious: Based on the Novel "Push" by Sapphire "Broken Hand" Poster,
Lionsgate, Ignition
Nominees:
* Precious: Based on the Novel "Push" by Sapphire "Painting" Poster, Lionsgate, Ignition
* Saw VI "Needles" Blood Drive Poster, Lionsgate, Ignition
* Tyler Perry's Why Did I Get Married Too? "Ring" Poster, Lionsgate, Ignition
Best Foreign/International Poster
Winner:
Inglorious Basterds "Intl One Sheet",
Empire Design
Nominees:
* Law Abiding Citizen, Film Department, bpg
Best Romance Poster
Winner:
Bright Star "One Sheet",
Apparition, The Refinery
Nominees:
* Brothers "Final Poster", Lionsgate, Ignition
* I am Love "One Sheet", Magnolia Pictures, The Refinery
* Killers "Katherine Poster", Lionsgate, Ignition
Best Summer 2010 Blockbuster Poster
Winner:
Inception "Maze",
Warner Bros., Ignition
Nominees:
* Despicable Me "Teaser One Sheet", Universal, Ignition
* Inception "Water", Warner Bros., Ignition
* Salt "Teaser One Sheet", Sony, Ignition
Best Teaser Poster
Winner:
District 9 "For Humans Only Phone # Artwork",
Sony Pictures, Ignition
Nominees:
* The Crazies "Crazies Teaser", Overture Films, The Ant Farm
* The Crazies "The Crazies", Overture Films, The Refinery
* District 9 "Target Practice Bus Shelter", Sony Pictures, Ignition
Best Thriller Poster
Winner:
Repo Men "One Sheet",
Universal, Ignition
Nominees:
* Daybreakers "Final Poster", Lionsgate, Ignition
* Gamer "Final Poster", Lionsgate, BLT & Associates
* Red Riding Trilogy "One Sheet", IFC Films, Mojo
Best Video Game Poster
Winner:
Medal of Honor "One Sheet",
Electronic Arts, Ignition
Nominees:
* Dementium 2 "One Sheet", SouthPeak Interactive, Ignition
* Scribblenauts "One Sheet", Warner Bros. Interactive Entertainment, Ignition
* Skate 3 "One Sheet", Electronic Arts, Ignition
Best Wildposts
Winner:
The Men Who Stare at Goats "Wildposts",
Overture Films, Ignition
Nominees:
* The Crazies "Character Banners", Overture Films, The Refinery
* The Fantastic Mr. Fox "Character Banners", 20th Century Fox, The Refinery
* Kick-Ass "Character Posts", Lionsgate, Ignition
Most Original Poster
Winner:
Kick-Ass "Lenticular Poster",
Lionsgate, Ignition/Virtual Images
Nominees:
* Inception "Maze", Warner Bros., Ignition
* Repo Men "Organs For Sale", Universal, Ignition
* Saw VI "Needles Blood Drive Poster", Lionsgate, Ignition
Trashiest Poster
Winner:
Trailer Park Boys: Countdown to Liquor Day,
Alliance Films, The Ant Farm
Standees
Best Standee for Feature Film
Winner:
500 Days of Summer: Giant T-shirt,
Empire Design
Nominees:
* From Paris with Love: Standee, Lionsgate, Ignition/ Drissi Creative Studios
* Gamer: Standee, Lionsgate, BLT & Associates/Drissi Creative Studios
* Kick-Ass: Standee, Lionsgate, Ignition/Drissi Creative Studios
Advertising In Theater & On Screen
Best Pre-show Theatrical Advertising
Winner:
Cloudy with a Chance of Meatballs "Food for Thought" NCM,
Sony Pictures, Mob Scene
Nominees:
* Clash of the Titans Video Game "Man vs. God", Namco Bandai Games, Eyestorm Productions
* Metropolitan Opera "Met Opera Live in HD", The Metropolitan Opera, Kinetic Trailers
* Movietickets.com "The Race", bpg
Original/Experiential Cinematic/Movie Advertising
Most Innovative Advertising for a Feature Film
Winner:
Avatar "Planet Pandora",
20th Century Fox, Mob Scene
Nominees:
* District 9 "Entire Print Campaign", Sony, Ignition
* Precious - Based on the Novel Push by Sapphire "Official Site", Lionsgate, Ignition Interactive
* Up "Official Site", Disney/Pixar, Ignition Interactive
Most Innovative Advertising for a Video Game
Winner:
World of Warcraft: Mohawk Scan,
Blizzard Entertainment, Mojo
Most Innovative Advertising for a Brand/Product
Winner:
Anti-Piracy: Reservoir Dogs,
Industry Trust, The Creative Partnership
Nominees:
* Anti-Piracy: Jerry Maguire, Industry Trust, The Creative Partnership
* The Sound of Music: Entertainment Trailer, Flyer Entertainment
Film Festival Category
Best Film Festival Poster
Winner:
Israel Film Festival: 24th Israel Film Festival,
The Ant Farm
Nominees:
* Las Vegas: 2010 Las Vegas Intl Film Festival, The Refinery
624 Views
Posted June 11, 2010 by
Opening Night of the 2010 Los Angeles Film Festival is just six days away and I'm becoming more excited by the hour as I peruse the fantastic lineup. Here's another in a series of promising selections.Like the previous title I previewed, LAFF's Opening Night Film The Kids Are All Right, I also attended the World Premiere of Welcome to the Rileys at the Sundance Film Festival in January and selected it as one of my Top 5 Picks as well. One of the many high-profile films on the schedule, Jake Scott's Welcome to the Rileys features the world's hottest young star, Kristen Stewart. Son of Ridley and nephew of Tony Scott (both producers on the movie), Jake Scott directs an all-star cast including James Gandolfini, Melissa Leo, and the ubiquitous Ms. Stewart.
One would be hard pressed to be unaware of this talented teenager given her presence in the record-shattering Twilight and The Twilight Saga: New Moon, which together have made over $1.118 billion in worldwide box office. Welcome to the Rileys would most certainly have generated buzz regardless but, as director Scott told me after the Q&A at Sundance, the filmmakers certainly don't mind the added attention from her international notoriety.
At first glance Ken Hixon's screenplay says Pretty Woman meets My Fair Lady, with businessman Doug Riley (James Gandolfini) on a mission to tame wild stripper Mallory (Kristen Stewart) while Doug's wife Lois (Melissa Leo) waits at home. The story takes us in a more unexpected direction, however, and its originality begins to emerge. Welcome to the Rileys isn't about redemption per se, but the way that we are inexplicably changed by the strangers who serendipitously enter our lives.
Few actors play the tortured wife and mother as well as Melissa Leo. As the agoraphobic Lois Riley, her quiet desperation is palpable. Leo's face reflects painful tragedy one moment and shines with the glow of a new mother the next. Gandolfini combines the strength of an experienced road warrior with the innocence of a young man taking his first girl to the prom. His presence dominates this film and his sensitive performance is breathtaking. Stewart takes risks which would be daunting to actors twice her age. Brash and offensive, her Mallory is like a wild tigress in heat that's escaped from the zoo and evades capture at every turn. This could be her most shocking and memorable performance yet. See my full review and my pictures of Stewart from Sundance.
As I announced here in early February, the movie was acquired by Apparition for a tentative fall release. There is some question about the future of the company with its co-founder leaving last month but it is hoped this will not affect the release of the film.
Welcome to the Rileys is featured in the Summer Showcase section. There will be two screenings:
Friday, June 25th
7:30 PM
Regal 8
Sunday, June 27th
4:00 PM
Regal 12
Tickets are sold out but may become available to Rush Line patrons.
Director Jake Scott is expected to attend along with stars Kristen Stewart and Melissa Leo. They will walk the red carpet at the Friday, June 25th screening.
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Summit Entertainment announces The Twilight Saga: Breaking Dawn to be released as two separate films
Posted June 10, 2010 by
In other news, the Earth is round. Still...it's nice to have it made official.Here's the Summit press release:
Summit Entertainment Announces THE TWILIGHT SAGA: BREAKING DAWN To Be Released As Two Separate Films, First Film to Arrive in Theatres November 18, 2011
Los Angeles, CA, June 10, 2010 – Summit Entertainment confirmed today that THE TWILIGHT SAGA: BREAKING DAWN will be released as two separate films with the first of the two slated to be released in theatres on November 18, 2011.
Academy Award® winner Bill Condon will direct both films starring Kristen Stewart, Robert Pattinson and Taylor Lautner along with Billy Burke as Charlie Swan as well as returning members of the Cullen Family including Peter Facinelli as Carlisle, Elizabeth Reaser as Esme, Jackson Rathbone as Jasper, Nikki Reed as Rosalie, Ashley Greene as Alice and Kellan Lutz as Emmett. The project, based on the fourth novel in author Stephenie Meyer’s Twilight series, is currently being written by Melissa Rosenberg with Wyck Godfrey, Karen Rosenfelt and Stephenie Meyer producing. The TWILIGHT SAGA: BREAKING DAWN will start production in the Fall.
THE TWILIGHT SAGA: BREAKING DAWN illuminates the secrets and mysteries of this spellbinding romantic epic that has entranced millions. The third film in the franchise, THE TWILIGHT SAGA: ECLIPSE is due in theaters on June 30, 2010.
About the TWILIGHT SAGA film series
The TWILIGHT SAGA film series stars Kristen Stewart and Robert Pattinson and tells the story of 17-year-old Bella Swan who moves to the small town of Forks, Washington to live with her father, and becomes drawn to Edward Cullen, a pale, mysterious classmate who seems determined to push her away. But neither can deny the attraction that pulls them together...even when Edward confides that he and his family are vampires. The action-packed, modern day vampire love story TWILIGHT, the first film in the series, was released in theatres on November 21, 2008 to a blockbuster reception. The second installment of the film franchise, THE TWILIGHT SAGA: NEW MOON was released November 20, 2009. The franchise has grossed over $1.1 billion in worldwide box office ticket sales to date.
About Summit Entertainment, LLC
Summit Entertainment, LLC is a worldwide theatrical motion picture development, financing, production and distribution studio. The studio handles all aspects of marketing and distribution for both its own internally developed motion pictures as well as acquired pictures. Summit Entertainment, LLC also represents international sales for both its own slate and third party product. Summit Entertainment, LLC releases on average 10 to 12 films annually.
It had been widely assumed for quite some time that this would be the case. In fact, some sources said Breaking Dawn would be split into two films as long as a year ago, although Summit reps released (and sources leaked) conflicting information over the past several months. Most stories related to issues surrounding whether or not screenwriter Melissa Rosenberg could come up with effective enough treatments for two films to satisfy the book's author Stephenie Meyer, who now gets a producer credit.
Other challenges involved finding a director who would agree to shoot both movies back-to-back and getting the principal cast members on board within Summit's financial goals. All these issues have been well-chronicled here and elsewhere. So this "news" comes as no surprise to most followers and fans of the Twilight series, but many have said that they needed to hear it "from the horse's mouth."
The horse has spoken.
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Posted June 10, 2010 by
The excitement is building as I prepare to head west to California just one week from today for the 2010 Los Angeles Film Festival. Looking over the screening schedule always gets my heart racing as the full picture of the experience begins to emerge. As I do every year, I'll be spotlighting a few films which appear to be good bets. This one is a no-brainer. I attended the World Premiere of The Kids Are All Right at the Sundance Film Festival in January. I only chose five films as Top Picks after arriving home from Park City, Utah and this was one of them.
Directed by Lisa Cholodenko from a script she co-wrote with Stuart Blumberg, The Kids Are All Right is a comedic drama about a suburban family with a twist. Julianne Moore and Annette Bening play a married couple whose two young children, portrayed by Josh Hutcherson and Mia Wasikowska, decide to seek out their sperm donor father. The story easily transitions from clever and witty to poignant and moving, taking the viewer on a roller coaster ride of emotions. See my full review and my pictures from the World Premiere.
I named it as the film most likely to get picked up for wide distribution. Following that, the movie was acquired by Focus Features for a reported $5 million. This was their first pickup in two years and the largest deal of the festival. It arrives in U.S. theaters on July 9.
The Kids Are All Right is the official Opening Night Film. There will be one screening:
Thursday, June 17th
7:30 PM
Regal Cinemas
Tickets are available as part of the Fast and Industry passes.
494 Views
Posted June 08, 2010 by
Last of a four-part seriesIn real tips for real people #1, I offered some advice on how to get to and around downtown Los Angeles, the new location of the LA Film Festival (LAFF). In part two we went over some of the rules, etiquette, and secrets of what happens from the moment you enter the theater until you leave. And last weekend, in part three, I helped guide you through the logistics of getting from place to place.
The final consideration in deciding how big a gap to allow between the end of one screening and start of another can be summed up in three words: waiting in line, and I'll cover that in this set of tips. When I talk to people who haven't been to LAFF (or any festival, for that matter) the term "waiting in line" usually elicits looks of horror. But to those of us who've been there, the reaction is more of a big grin.
You see, waiting in line is a time-honored tradition which ranks right up there with Thanksgiving dinners, family reunions, and holiday barbecues. It's a time when festival veterans meet up with folks they may only see once a year, and make new friends whom they hope to see in future Junes. Waiting in line also offers one of the best opportunities to fill out your schedule with one question posed to a line mate: "So what have you liked so far?"
For most film festivals, my experience allows me to offer venue-specific tips. But while I have been to the LAFF for several years, this is the first time the event has taken place downtown. Many of the sites are new to the festival. In fact, the primary screening location wasn't even open until this past October. So in this case it would be impossible to relay any information based on past practice at these particular venues. However, I think it's safe to assume that the site logistics will generally be the same as in previous years.
1) Each location usually has separate parallel lines on one side of the theater entrance for priority badge/pass holders and for those with regular passes or individual tickets. There are placards at the front of each line with images of the various colors on them corresponding to the passes and tickets. There is also a "wait list line" or "rush line," usually on the opposite side of the entrance, for those who will fill any empty seats just prior to the screening. Priority badge/pass holders get in first, then regular pass holders and those with tickets. Once they're seated, 15 minutes prior to the start of the film, wait list patrons may purchase individual tickets and take any empty seats remaining at that point.
2) Upon arrival at the venue you should immediately be able to see where the lines are located and which is which. If not, there are usually clearly marked signs and there are always a multitude of volunteers who really are extremely helpful. If you're lost or confused, do not hesitate to ask for help. They usually have the answer and, if not, can get on the horn and flag down someone who does. Chances are the people in line also know what line they're in.
3) Take your place at the end of the appropriate line and try to spark up a conversation with someone ahead of you (or behind you, as you surely won't be last for long). Even if you're with one or more people it's a smart thing to get to know the folks around you, especially since you may be standing together (or sitting) for a long time.
4) Normal social rules don't necessarily apply here. It is generally not considered rude to "overhear" someone else's conversation about a particular film and ask a question or give your opinion about it. Of course there are exceptions, but of the hundreds of times I've done it I rarely recall anyone treating me with disdain for poking my head in to discuss a film. Likewise, you should expect others to hear what you are saying and be prepared for them to chime in. It goes without saying that the reaction you get will vary if the person hasn't seen anything yet or hated everything they have seen. It's okay to slink away and slyly turn to someone else. Everyone waiting in line is part of one big community.
5) Naturally, some prefer to simply carry a good book or read the morning paper. But you'd be surprised how fast the time flies when you're engaged in conversation about the films you've seen and liked, didn't like, or hope to see. Some of my favorite films from festivals past were called to my attention from conversations while waiting in line. I've also learned what to avoid. I can't stress it any more: I have never turned to someone standing next to me and asked, "so what have you seen/liked/not liked so far?" and not gotten into an engaging conversation. Even folks who look like they've had the worst day can be the most pleasant when approached. I've made some great friends this way and lifelong relationships can be forged while waiting in line.
6) The larger the party the less likely you'll find seats together, and the earlier you'll want to arrive (and the longer you'll wait in line) if you do want to. If you're solo or don't mind sitting apart you can afford to arrive later (and not wait as long).
7) Lines can be quite long, especially at large venues. But the theaters are often big enough to accommodate many more people than would appear to be standing in the lobby or on the sidewalk. It can be quite deceptive because a line which appears to be interminably long may not even fill half the house once you get inside. A 30-45 minute wait is typical for most screenings but an hour is not uncommon for the most popular "buzz" films.
8) Add it all up and I'd say that you should expect to wait in line up to an hour for many screenings if you want to be assured of a good seat. 45 minutes is probably okay. Anything less than a half hour is chancy. That's usually when priority pass holders begin entering the theater. And 15 minutes before the screening they begin filling empty seats with wait list patrons. Even if you have a pass or ticket and show up after the seats are filled you may be out of luck. I've seen it happen. So get there early.
9) So taking all three basic considerations into account when deciding how much time is needed from the moment one film ends until your next screening begins:
Allow ten minutes to a half hour for any Q&A. Average is 15-20 minutes.
Allow ten minutes to a half hour for travel time when applicable. Average is 15-20 minutes. This obviously doesn't apply if you're spending most of your time at the Regal 14.
Allow 30 minutes to an hour for waiting in line.
Bottom line: the amount of time to allow between the end of one film and start of another is a minimum 40 minutes, maximum two hours depending on the above three factors. Average for me has been closer to 90 minutes if travel is required. Average if staying at the same venue is an hour.
Most importantly, keep in mind all the variables I've noted: distance between venues, time of day, number of screenings the film may already have had, popularity of the film, and size of the house, as well as your desire to get the seat(s) you want.
On the other hand, if you're like me and want to see as many films as possible regardless of health concerns, then join me in what I like to call "festival mode." Plan your films carefully. Allow 20 minutes after a film ends and 45 minutes waiting time before the next one. Then just add travel time to that. You'll get better at it as the week goes on, and share your own tips next year.
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Posted June 05, 2010 by
Third of a four-part seriesLast week, in real tips for real people #1, I offered some advice on how to get to and around downtown Los Angeles, the new location of the LA Film Festival (LAFF). In part two we went over some of the rules, etiquette, and secrets of what happens from the moment you enter the theater until you leave.
Now you're ready to move on to the next screening. Hopefully you've allowed enough time, and that's trickier than you may realize. There are three basic considerations when deciding how much time is needed from the moment one film ends until your next screening begins. The first I discussed previously -- the Q&A. Allow for anywhere from ten minutes to a half hour for that. Average is 15-20 minutes. The second consideration is travel time. I'll cover that in this entry.
Note that this is not intended as a comprehensive guide to transportation for every logistical possibility -- LAFF will utilize sites scattered throughout the downtown area. For most film festivals, my experience allows me to offer venue-specific advice. But while I have been to the LAFF for several years, this is the first time the event has taken place downtown. Many of the sites are new to the festival. In fact, the primary screening location wasn't even open until this past October. So in this case it would be impossible to relay any secrets or tips based on the past. But there are some suggestions which can be made regarding travel between locations, based on my own experiences at festivals in general.
1) The post-screening excitement is over (assuming you stayed for the Q&A), you've hopefully met and chatted with the filmmakers and actors, and you've taken care of whatever urgent business you need to take care of before exiting the theater. Now it's time to get to your next screening. In the best case scenario, of course, you don't actually have to "go" anywhere. It is quite possible to stay in one location for an entire day of screenings. Heck, there are folks who do that for every festival they attend. I've met many veterans who plan their week not around what films to see but around which venue to call home for the duration. At LAFF this year it's a no-brainer, since Regal Cinemas L.A. LIVE Stadium 14 is dedicating eight of its 14 screens to the festival. For most people it will be easy to see several films a day. The festival lineup is so dang good that it's almost guaranteed you're going to have a grand old time regardless of what you select. The Nokia Theatre and Grammy Museum are also located in the L.A. LIVE complex, along with the JW Marriot Hotel, the Ritz-Carlton Hotel, and the ZonePerfect live.create.lounge.
If you're going from the festival hub to the outlying venues, you'll want a decent map and knowledge of the city's numerous public transit options (discussed in part one).
Here are directions from L.A. LIVE to the most popular locations where festival screenings and other events are taking place. Clicking each venue title will take you to a map with options for driving, transit, walking, and cycling (by clicking the icons at the upper left, above the address fields). These venues are all located less than two miles from L.A. LIVE:
* 7+Fig at Ernst and Young Plaza (a few blocks away)
* Downtown Independent at 251 South Main St.
* Ford Amphitheatre at 500 West Temple St.
* REDCAT at 631 West 2nd St.
* California Plaza at 350 South Grand Ave
2) Many venues are within walking distance of each other and the major downtown hotels. But a note about walking. Los Angeles can be quite warm in mid-late June. It's critical to drink a lot of water. Exhaustion is easy to recognize but dehydration creeps up slowly.
3) If your own two feet won't suffice, the DASH is highly recommended. I mentioned it in real tips for real people #1. It's run by the Los Angeles Department of Transportation (LADOT) and only costs 25 cents a ride. You can also take the light rail, subways, and buses operated by LACTMA for $1.25 per boarding (fare chart). Take a few moments to study the LACMTA site's route maps and timetables. All venues and area hotels are located at or close to transit stops.
4) For those with their own vehicles there are surface lots and garages, but these can fill up quickly and can be quite costly, especially if you're driving back and forth between the same venues. There are legal spots on the street in some areas but be sure to give yourself plenty of time to drive in circles, especially on weekend evenings. I know folks who've been stuck "driving" around for an hour or more before finding a place to park, when they might have been better off parking some distance away and walking. You don't always have to put money in a meter -- be sure to read the signs on the sidewalk indicating the days and times when payment is required.
5) Taxicabs are readily available on the major streets but those in the know will have a much better chance of hailing one in front of a hotel.
6) Bottom line: this is what I recommend. First, study your schedule for the day, taking particular note of the venues' locations. If you're driving select a lot or garage at or near the first venue where you can leave your car until you're ready to call it a night. Make note of the facility's hours and location. It's easy to get lost trying to locate the garage you parked in, especially if you pulled in at 10:00 AM, saw four movies, went to two parties, and are looking for the garage at 1:00 AM. Many tend to look the same. Trust me, I know. When you do need to travel between venues just take public transportation there and back. Again, this isn't meant to cover every possibility. These are just some of my personal recommendations based on many years of festival experience.
The final aspect to consider in booking your screenings is what happens when you arrive at your next venue. It's a time-honored tradition, and one which may prove quite valuable as the festival goes on -- waiting in line. I'll cover that in my next post.
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Posted June 04, 2010 by
It was back on October 29, 2009 when I posted my video of rising young star Logan Lerman (Percy Jackson, The Three Musketeers) declaring that he did not have a Twitter. Thousands were being fooled by fake accounts. At this very moment there are three Twitters purporting to be him that have 8626, 9892, and 12038 followers respectively. That's over 30,000 people at those sites alone who think they are talking to Lerman and that he is replying to them. Many are young people who care about him and are being led to believe he feels the same way about them. These fakers are toying with their emotions by claiming to be the person of their affections. They are saying things in his name, whether good or bad, true or false, and leading at least these 30,000 people to believe they are reading details of his personal life. Even suicide has been mentioned. I don't think I need to tell anyone how dangerous that is.
I could write a thousand word rant on my anger at such fakery and how people are duped but I'll save that for another time. What's important here is that fans of this increasingly popular actor have been fooled into thinking that these Twitters are officially run by him. Last fall I spoke directly with his management who verified that they were all fake. This appeased many fans but the doubt remained. For many, the only proof would be an actual video from Logan himself stating the truth. I finally obtained that video and thought it would put the matter to rest.
But despite the obvious video proof, I was still bombarded with comments -- some quite vicious -- on my blog, YouTube, Facebook, MySpace, Twitter, and IMDb from people saying that Lerman was lying, or that the video was faked, or that he created one AFTER the video was made. From the moment it was posted people questioned it and asked for ANOTHER video to prove that he hasn't created one SINCE then.
So I sincerely thank Lauren Davis, MTV News' official Coca-Cola Movie Awards Insider for the 2010 MTV Movie Awards, for asking him the exact same question over seven months later. Although his fans would love for him to create a Twitter, the answer, as you'll see, is the same:
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