ReportWire

Tag: oscars

  • Fashion Trivia: The Couturier and the Costume Designer

    Fashion Trivia: The Couturier and the Costume Designer

    [ad_1]

    Test your fashion-industry knowledge with our new-old weekly series, Fashion Trivia! There’s no prize (yet) for having the right answer, but you get theoretical bonus points for not using Google.

    Q: In 2011, Rodarte designers Kate and Laura Mulleavy were vocal about how unhappy they were with the lack of recognition for their work on ballet costumes for “Black Swan” during awards season. (The costume designer on the project was Amy Westcott, who clarified the situation here.)  More than 50 years prior, a famous couturier contributed costumes to a similarly acclaimed film in much the same way, but kept quiet when its actual costume designer was nominated for — and won — the Oscar. Who was it?

    [ad_2]

    Fashionista

    Source link

  • 40 Awkward Red Carpet Encounters That Will Make You Seriously Uncomfortable

    40 Awkward Red Carpet Encounters That Will Make You Seriously Uncomfortable

    [ad_1]

    Nancy O’dell Tells Taylor Swift She’s Going Home With a Lot of Men Tonight (2015 Grammys)

    While interviewing Taylor Swift on the 2015 Grammys red carpet, ET’s Nancy O’dell actually told Taylor Swift: “You’re going to walk with more than a trophy tonight, I think, lots of men.” Taylor responded with perhaps the fiercest death stare of all time. “I’m not going to walk away with any men tonight,” she said. The conversation lightened up from there, but it was off to a rough start, to say the least.

    [ad_2]

    Source link

  • Inside the New York Film Critics Circle Celebration: Heartfelt Thanks, Sake Bombs, and More

    Inside the New York Film Critics Circle Celebration: Heartfelt Thanks, Sake Bombs, and More

    [ad_1]

    At Wednesday night’s New York Film Critics Circle gala at New York’s Tao Downtown, there was no suspense to be found, no “envelope please”—the critics’ group voted on and announced its winners a month ago. Instead of awards shows’ usual tension and cutting between contenders to see the elation or disappointment after a winner is announced, at the NYFCC ceremony the rule of the night was celebration only as industry notables paid tribute to their colleagues over plates of lobster fried rice and miso-glazed cod—served, appropriately, family-style. 

    If one big winner of the evening had to be selected it might be Tár, winner of the best actress and best-picture prizes. Director Todd Field was introduced by Martin Scorcese via video, with the legendary director saying that “the clouds lifted when I experienced Todd’s film Tár.” Field himself paid tribute to his star, Cate Blanchett, in his acceptance speech, calling her “a fucking humble artist who stands at the ready,” and “a believer, a defender of the faith.” Blanchett, likewise, told Field in her own speech that “this menu is yours, Todd, every single morsel of it.” (For the uninitiated, it was a reference to the NYFCC’s awards certificate, which is presented sheathed in a large blue portfolio.)

    Stephen Colbert did the honors of introducing Blanchett. “I was truly moved by your performance as a magnetic, larger-than-life, creative woman; a leader at the height of her powers; intensely, feverishly focused on defeating the Dark Lord Sauron,” he said. “Lydia Tár would have taken that fucking ring,” he said before calling himself out as “a huge fan of both Todd Field and his wife’s cookies.” 

    Everything Everywhere All at Once star Ke Huy Quan continued his moving awards-season comeback arc with a win for best supporting actor, thanking directors the Daniels in his acceptance speech.

    He recalled a reporter asking him a bog-standard red-carpet question—“how does it feel?”—while he promoted Everything Everywhere, his first film in decades following his child stardom in the 1980s.

    “I couldn’t quite articulate how I was feeling, aside from saying, ‘It feels incredible,’” he said. “And I realized I couldn’t explain because it was a feeling I hadn’t had for a long, long time. In fact, it was more than 30 years. And it was the same feeling that I had when I was a kid, when I was a working actor.”

    “So I just wanted to give a huge shout-out to Dan Kwan, Daniel Scheinert, and our producer, Jonathan Wang, for making me feel like a kid again.” 

    The directing duo introduced Quan, with Scheinert thanking the actor for being willing to talk about difficult memories and “[promoting] the shit out of this movie this year.” 

    “It’s hard what you went through when Hollywood stopped casting you, like idiots,” he said. 

    Kwan noted Quan’s particularly special presence. “It’s not just his talent or adorable smile,” he insisted. The actor is, he said, “someone who could make us believe in an unkind world that there is still a place for kindness.” The duo toasted Quan onstage with sake (Scheinert called the actor’s sake bombs life-changing), complete with what they said is Quan’s signature move—plopping the empty cup upside down on top of your head after drinking. 

    Banshees of Inisherin actor Kerry Condon found herself in the rare position of winning no awards herself, but accepting two of them, on behalf of best-actor winner Colin Farrell and best-screenplay winner Martin McDonagh, neither of whom could make it to the gala. (Seth Meyers, introducing Farrell’s award, passed on a message from the actor that “he wanted me to tell you, and this is a direct quote, how fecking sorry he is.”) Condon took a few comedic liberties on the speeches her friends prepared, quipping that “Martin is in Southeast Asia, which is a long way to go to avoid an awards ceremony,” and during Farrell’s remarks, “then he goes into this long bit to make me red in the face, and I’m not reading it.” 

    Accepting Marcel the Shell with Shoes On’s award for best animated feature, Jenny Slate said, “I think we tried to make a film that showed the shape of an embrace. It just ended up looking like a shell with one eye and two shoes.”

    The gala was a remarkable gathering of names, the New York film and arts community getting together in person for their traditional January celebration for the first time since 2020 for the presentation of the awards. David Byrne, Keke Palmer, Nan Goldin, Jim Jarmusch, Jordan Peele, and more were on hand. 

    [ad_2]

    Kase Wickman

    Source link

  • Dressed to Kill (and Thrill): Costumes Fit for an Oscar

    Dressed to Kill (and Thrill): Costumes Fit for an Oscar

    [ad_1]

    Babylon (Paramount)

    We meet Nellie LaRoy (Margot Robbie) in Babylon just as she’s skidded her car onto the front lawn of a glamorous Hollywood house party she’s hoping to crash. She steps out of the car in a skintight red ensemble with a plunging neckline that immediately signals this is someone who captures people’s attention—even in a rollicking bash with an elephant, debaucherous dancers, and a little person hopping around on a penis-shaped pogo stick. Babylon costume designer and three-time Oscar nominee Mary Zophres says of Robbie’s lady-in-red entrance, “We knew that it needed to be striking, we wanted it to be sexy, and we wanted it to stand out in the crowd.”

    Director Damien Chazelle told Zophres early on that he wanted to avoid typical looks from the 1920s and 1930s in his Hollywood period piece. But the designer wanted this look to be something that Nellie, a scrappy aspiring actor, could have made herself at home during that period. “She’s trying to get away with as little clothing as possible but still be allowed into the door,” says Zophres, who went through six different prototypes before landing on this look. At first, the vintage-silk top was paired with pants, but then, inspired by an image of a woman from the Ziegfeld Follies, Zophres created a pair of hot pants and wrapped a sarong around it. “Instantly, you know somebody daring is wearing that,” Zophres says. “Someone who’s got a zest for life and is not afraid to take chances.”

    [ad_2]

    Rebecca Ford, Katey Rich, Chris Murphy, Yohana Desta

    Source link

  • Keke Palmer, ‘RRR’ Get Huge Oscar Boosts From New York Critics Awards

    Keke Palmer, ‘RRR’ Get Huge Oscar Boosts From New York Critics Awards

    [ad_1]

    Several scrappy Oscar hopefuls received major visibility boosts with Friday’s announcement of the New York Film Critics Circle winners, the first critics’ group to weigh in with their selections for the favorites of the year. Keke Palmer, explosively good and charismatic in Jordan Peele’s Nope, pulled off a glorious upset by taking best supporting actress, a vital kick start to receiving larger recognition down the road in a messy, overcrowded category. (You might compare it to another breakout first-timer winning NYFCC, the Borat sequel’s Maria Bakalova, who went on to an Oscar nod.) And S.S. Rajamouli, the man behind the action epic RRR, overtook a slew of big names in the directing field, crucial as that audience hit attempts to mount a campaign after India chose not to submit it for best international feature.

    But it was Tár, Todd Field’s beloved portrait of a revered conductor, which dominated, winning best picture and actress for star Cate Blanchett, the clear front-runner at this stage of the latter category. 

    Elsewhere, NYFCC recognized a few heavy hitters already appearing a little more unstoppable by the day. They include Martin McDonagh, taking screenplay for The Banshees of Inisherin, and Ke Huy Quan, universe-hopping patriarch of Everything Everywhere All at Once (who also picked up a Gotham Award this week), winning best supporting actor. The former Indiana Jones child star is riding a heartfelt comeback narrative while representing one of the year’s biggest overall contenders. Rivals including Banshees’ Brendan Gleeson and The Fabelmans’ Judd Hirsch will need to act quickly to dent Quan’s momentum.

    Meanwhile, one of the cinematography race’s strongest contenders, Top Gun: Maverick’s Claudio Miranda, prevailed over fellow Oscar winners in The Fabelmans’ Janusz Kamiński and Empire of Light’s Roger Deakins (Miranda won the Oscar for Life of Pi), while Colin Farrell made a significant leap in the best-actor race, cited for both his contender The Banshees of Inisherin and spring sci-fi hit After Yang. 

    The documentary race, when it comes to the Academy, will open up to more populist choices that critics aren’t as drawn to—remember My Octopus Teacher?—but for now there’s little reason to see any film but Laura Poitras’s All the Beauty and the Bloodshed as the one to beat, at least among precursor groups. The incendiary Nan Goldin portrait, exploring her artistry as well as her explosive activist campaign against the Sackler family and Purdue Pharma, wins with NYFCC to kick off what will surely be a healthy prize run in the months ahead.

    It can be hard to assess the impact of a group like NYFCC on the race as a whole. Last year, voters went for Lady Gaga in the best-actress race, a seeming huge boon to her House of Gucci campaign, but the Academy dismissed that film to such an extent that even she was left off of the nominations list in one of the year’s biggest snubs. Yet that same year, NYFCC also named Drive My Car the best film of the year—at that point, a fairly unknown Japanese film, but thereafter, the toast of film critics around the US (it’d later win with Los Angeles and the National Society of Film Critics) and an inspired best-picture Oscar nominee. You can draw a straight line to that from its NYFCC win.

    So what does this mean for Tár? NYFCC’s top choices tend to at least be nominated for best picture—La La Land, Boyhood, Lady Bird, Roma, among recent examples—though there are exceptions, from Carol to 2020’s First Cow. In this demanding but brilliant movie’s case, it’s proof that it will be a force to be reckoned with as the season revs up.

    Full list of winners:

    • Best Picture: Tár (dir. Todd Field)
    • Best Director: S.S. Rajamouli, RRR
    • Best Actor: Colin Farrell, After Yang and The Banshees of Inisherin
    • Best Actress: Cate Blanchett, Tár 
    • Best Supporting Actor: Ke Huy Quan, Everything Everywhere All at Once
    • Best Supporting Actress: Keke Palmer, Nope
    • Best Screenplay: Martin McDonagh, The Banshees of Inisherin
    • Best Cinematography: Claudio Miranda, Top Gun: Maverick
    • Best International Film: EO (dir. Jerzy Skolimowski)
    • Best Non-Fiction Film: All the Beauty and the Bloodshed (dir. Laura Poitras)
    • Best Animated Film: Marcel the Shell With Shoes On (dir. Dean Fleischer Camp)
    • Best First Film: Aftersun (dir. Charlotte Wells)

    Content

    This content can also be viewed on the site it originates from.

    [ad_2]

    David Canfield

    Source link

  • With ‘The Fabelmans,’ Julia Butters Reaches New Hollywood Heights

    With ‘The Fabelmans,’ Julia Butters Reaches New Hollywood Heights

    [ad_1]

    She has yet to reach high school, but 13-year-old Julia Butters is already building the career of any actor’s dreams. At the age of 10, she stole scenes opposite Leonardo DiCaprio in Quentin Tarantino’s Once Upon a Time…in Hollywood. It was on that set where Butters would first meet Steven Spielberg, who cast her as a proxy for his eldest sister in his memoir film, The Fablemans

    “I saw Steven walking around the valet [at Universal Studios]. I waved to him through the window, he waved to me, and I was freaking out,” Butters tells Vanity Fair during a recent Zoom. “That was my only interaction with Steven Spielberg ever, and I thought, ‘Oh, my God, that’s the closest I’m ever going to get to him.’” 

    Her prediction didn’t age well. Just a handful of years later, Spielberg and Tony Kushner’s script, emblazoned with the Amblin Entertainment logo, came her way. “I was so excited,” Butters says. “I remember just being like, ‘Don’t blow it. You gotta try your best. You gotta try your hardest. We have to make this worth it.’ And it turned out to be worth it.”

    After securing the role of Reggie, inspired by Spielberg’s real-life sister Anne, Butters had just one question: “Is there a monkey in this movie?” The actor had watched Spielberg, a 2017 HBO documentary about the legendary filmmaker, which recounts the time his mother spontaneously brought a pet monkey home. “I had this joke on set where that was what made me want to do the movie,” she says. “That was the deal—if there was a monkey, I would work on it.” And how was it sharing the screen with an orangutan? Says Butters, “Crystal was such an incredible actress.”

    Spielberg’s love of his sister is clear throughout The Fabelmans, shown through details and observations too specific to be made up—from her likening the family’s Northern California move to being “parachuted into the land of the giant sequoia people” to asking when “Sammy” plans on making movies with roles for girls. Although often in the periphery, Reggie’s protectiveness over her mother, Mitzi (played by Michelle Williams), breaks through. During a camping trip, she shields her inebriated mother, dancing by the fire in a transparent nightgown, from prying eyes. And after learning of her parents’ split, she observes that it must be difficult for their mother to be “loved by someone who worships” her as their father does. 

    “She feels a responsibility to be kind of the mother of the family while her mom is out playing and dancing and having fun and living life,” Butters tells me of Reggie. “Her mother has such a way about her—this innocence, it’s like a breath of fresh air. She feels youthful and young and happy. She just radiates such a glow. Reggie really wants to protect that and keep that fire lit.”

    Butters, who plays Reggie from ages 13 to 16, grew similarly attached to her onscreen Fabelmans family—Williams as free-spirited mother Mitzi, Paul Dano as by-the-numbers father Arnold, fellow sisters Natalie (Keeley Karsten) and Lisa (Sophia Kopera), and Gabriel LaBelle, who plays the Spielberg-inspired character of Sammy. “We all built a safe space where you can say what’s on your mind if you’re feeling anxious or sad or happy,” Butters says. “And I think that was really important with such an intense set,” adding of her younger costars, “We were all geeking out over the fact that we had made our dreams come true, working with Steven.”

    When I ask Butters if she had jitters about meeting the real-life Anne, who would, after the period depicted in the movie, go on to cowrite and produce Big, starring Tom Hanks, she pauses. “I get nervous about everything, so that’s kind of a funny question.” Butters, who played a kid with obsessive-compulsive disorder on the ABC sitcom American Housewife, says she struggles with her own anxieties, which made their own appearance on the set of The Fabelmans.

    One day, a scene involving Reggie and Sammy quickly bantering while washing dishes was placed in front of Butters, who was in the thick of schoolwork, just 30 minutes before it was meant to be filmed. “I was having trouble getting it out on set,” she remembers. “I got super anxious because I was on a Steven Spielberg set and I really wanted to do the best I could. So of course when I couldn’t get it, I got frustrated with myself. And I beat myself up to the point of shaking.”

    [ad_2]

    Savannah Walsh

    Source link

  • Box Office: ‘Prey For The Devil’ Nabs $3 Million Friday As Oscar Contenders Struggle

    Box Office: ‘Prey For The Devil’ Nabs $3 Million Friday As Oscar Contenders Struggle

    [ad_1]

    With the big Halloween movies already in play and Black Panther: Wakanda Forever two weeks away, it is another quiet weekend for newbies at the domestic box office. The one new wide release is Lionsgate’s long-delayed Prey for the Devil. The PG-13 horror flick earned $660,000 in Thursday previews and grossed another $2.83 million Friday. That suggests an over/under $7 million opening weekend in 2,450 theaters, about in line with cautiously optimistic forecasts. Considering the relative lack of buzz, expectedly lousy reviews (17% and 3.6/10 on Rotten Tomatoes), star-free cast and harsh scary season competition, this is a moral victory even if it’s not remotely a barnburner. The film got a C+ from Cinemascore, which is almost good for a low-profile horror flick, but I would expect it will be ancient history by the time it pops up on PVOD in a few weeks.

    United Artists expanded Till into semi-wide release in its third frame. The acclaimed and Oscar-buzzy drama earned $1.03 million in 2,058 theaters. That suggests a $2.78 million (+665%) weekend for a mediocre $1,351 per-theater average and $3.607 million 17-day total. Unless it truly becomes a must-see film for Oscar watchers and related general audiences, and that could happen if Danielle Deadwyler gets a Best Actress nomination, we are looking at an under-$10 million domestic finish. With all due respect, audiences wanting a big studio flick for/from/by/about empowered Black heroes will flock to the MCU sequel opening in two weeks. To be fair, and I say this with zero judgment, we saw likewise in 2016 when Nate Parker’s much-discoursed Birth of the Nation was ignored in favor of Antoine Fuqua and Denzel Washington’s popcorn-y but righteously angry The Magnificent Seven remake.

    Likewise, rave reviews and social media discourse aside, Cate Blanchett’s TÁR isn’t exactly mainstream entertainment, and I would have said that in 1994 as well. I am old enough to remember critics and pundits decrying the lack of theatrical business for Quiz Show and Ed Wood, even if back then, at least folks were showing up for Pulp Fiction. The 2.5-hour melodrama about a world-famous and top-of-her-field conductor dealing with skeletons in her closet and/or chickens coming home to roost, expanded to 940 theaters on weekend three and earned $340,000 on Friday. That positions the Focus Features release for a $1 million weekend. That gives the Best Actress frontrunner (for now) a mere $920 per-theater average and $2.5 million 17-day total. Searchlight’s The Banshees of Inishin expanded to 59 theaters for an over/under $440,000 (+139%) weekend and $7,458 per-theater average.

    Focus Features’ Armageddon Time debuted in five theaters yesterday to indifferent results. James Grey’s mostly acclaimed 80’s set melodrama stars Anne Hathaway, Jeremy Strong and Anthony Hopkins and at least tries to be a little less nostalgic than is usual for the sub-genre. However, I imagine if any such (loosely autobiographical) coming-of-age drama is going to break out commercially, it will be Steven Spielberg’s The Fabelmans over Thanksgiving weekend. Armageddon Time earned $35,000 on Friday for an over/under $78,000 weekend and a $13,000 per-theater average. Nobody is expecting big bucks from films like Triangle of Sadness ($2.24 million in 24 days) or Decision to Leave ($794,000 after 17 days). Still, I will be curious to see which of this season’s awards contenders can at least make as much as David O. Russell’s mega-bomb Amsterdam ($15 million) or even Terrifier 2 ($7.7 million and rising).

    [ad_2]

    Scott Mendelson, Forbes Staff

    Source link

  • Sacheen Littlefeather’s Sisters Say Claim of American Indian Heritage Was A Fraud

    Sacheen Littlefeather’s Sisters Say Claim of American Indian Heritage Was A Fraud

    [ad_1]

    The most surprising moment in Oscars history now has a new twist. The San Fransisco Chronicle published an investigative report on Saturday that argues Sacheen Littlefeather, the American Indian activist who Marlon Brando dispatched to refuse his Best Actor Academy Award for The Godfather, was an “ethnic fraud.” According to her sisters, Littlefeather, who died earlier this month shortly after receiving an official apology from the Academy, was not, as she claimed to be, of Apache heritage, but half-Mexican. They also said she did not grow up with an abusive father, or in terrible poverty. “Of course we had a toilet,” her sister Trudy Orlandi said, debunking a longstanding claim. 

    Littlefeather’s two sisters, Orlandi and Rosalind Cruz, approached Native American journalist and activist Jacqueline Keeler, who is known for co-creating the #NotYourMascot hashtag in 2013 (which helped finally put an end to Washington D.C.’s football team’s former name) and has for years maintained a “Pretendians” list, exposing people who make false claims of American Indian heritage.

    The Chronicle article goes into great detail about Sacheen Littlefeather’s family tree. Born Marie Louise Cruz (nicknamed “Deb”), Keeler says there is no evidence to suggest anything but white heritage on her mother’s side and Mexican on her father’s. It was restoring their father’s name that ultimately inspired the sisters to come forward, they said. The Oxnard, California-born man, “never drank,” according to Orlandi, and was not mentally ill, refuting her sister’s claims. 

    Littlefeather said that she was given her name during the Native American occupation at Alcatraz, but Keeler’s investigation shows that she was never actually there. (Activist LaNada Warjack, who was on the island for the entire 18 months, said she never heard of her until the Oscars.) Moreover, Keeler wrote Littlefeather’s claim that Sacheen means “little bear” in Navajo is untrue. (“Shush yazh” would be the correct translation.) Also, Navajo people, Keeler said, do not name people after animals. 

    The sisters recalled that they used to make clothing at a local 4-H club, and used materials from the Sacheen Ribbon company, and suspect this was the name’s actual inspiration.

    Marlon Brando met Littlefeather through Francis Ford Coppola. At the time, she was trying to break into Hollywood and had already done a shoot for Playboy, which would ultimately be published after her appearance at the Academy Awards. (LaNada Warjack told Keeler that while she felt the Oscars action was impressive, the photo spread was suspicious: “The last thing we as Native women wanted anyone to think of us was as sex objects.”)

    At the 1973 ceremony, she wore traditional clothing and made a short statement about Hollywood’s treatment of Native Americans. Raquel Welch and Clint Eastwood both made snide comments afterward, and Littlefeather later said she was blacklisted from the industry. She also claimed that John Wayne had to be held back by security men to prevent him from assaulting her on stage, a story that film historian Farran Smith Nehme has gone to great efforts to debunk. 

    The Academy’s apology to Littlefeather said that “[t]he emotional burden you have lived through and the cost to your own career in our industry are irreparable. For too long, the courage you showed has been unacknowledged. For this, we offer both our deepest apologies and our sincere admiration.” In Saturday’s Chronicle story, the Littlefeather’s sisters said it was troubling to see her “venerated as a saint.”  

    Content

    This content can also be viewed on the site it originates from.

    [ad_2]

    Jordan Hoffman

    Source link

  • Box Office: ‘Halloween Ends’ Nabs Solid $41 Million Despite Peacock

    Box Office: ‘Halloween Ends’ Nabs Solid $41 Million Despite Peacock

    [ad_1]

    You could practically hear Michael Myers (now around 65 years old) telling Art the Clown and the various baddies (no spoilers) from Barbarian, The Invitation and Smile to get the hell off his lawn. Despite concurrent availability on Peacock, Universal and Blumhouse’s Halloween Ends opened on target with $41.25 million in its debut Fri-Sun frame. I’ve read chatter elsewhere that the Peacock factor hurt the film’s theatrical reception and that somehow this poorly reviewed, willfully divisive franchise-ender (for a franchise that has ended before and everyone knows will eventually be restarted) was supposed to open closer to $55 million. However, recent ‘fine, whatever’ trilogy enders like Fifty Shades Freed, Star Wars: The Rise of Skywalker and The Maze Runner: The Death Cure opened with 80% of their respective predecessor’s opening weekends. Halloween Ends pulled 84% of Halloween Kills’ $49 million domestic launch.

    Not every ‘it all ends here’ finale plays like Harry Potter and the Deathly Hallows part II or Avengers: Endgame, especially with poor reviews and nothing new to offer. Some successfully sell the ‘end of an era’ hook. The critically acclaimed and unique (due to its real-world template and R rating) Logan parlayed Hugh Jackman’s last ride (uh…) into an $88 million Fri-Sun opening compared to $85 million for X-Men Origins: Wolverine and $53 million for The Wolverine. Right or wrong, if Marvel thought merely offering Deadpool 3 was enough to make it an event, they wouldn’t have coaxed Hugh Jackman’s Wolverine back into the saddle. Even Breaking Dawn part II earned about what the earlier Twilight Saga sequels made ($281-$300 million) in North America, with the same over/under $140 million opening weekend as New Moon and Breaking Dawn part I.

    Did Halloween Ends, which promised a finale to the Michael Myers/Laurie Strode saga, lose a few bucks this weekend by being available on Peacock? Well, it was their most-watched movie ever in a two-day period. However, even a 10% bump is $45 million, which is the same ‘hold’ on opening weekend as Jurassic World Dominion ($145 million) compared to Jurassic World: Fallen Kingdom ($148 million). That a poorly reviewed threequel to Halloween, following the poorly reviewed Halloween Kills, was never going to somehow approximate the lightning-in-a-bottle arrival of Halloween ($77 million in 2018). Such thinking made up my villain origin story in the days of ‘Pearl Harbor will surely top $100 million over Memorial Day!’ and ‘Book of Shadows will open with $30 million!’ There’s a reason I tend to be the guy saying, “Wait… let’s cool our jets here.”

    As with most biggies in the Covid era, what happened happened and couldn’t have happened any other way. The Matrix Resurrections was always going to be a commercial miss, with or without HBO Max. Black Widow was never going to get anywhere near $1 billion worldwide, nor was Tenet or Wonder Woman 1984. David Gordon Green’s Halloween Ends opened with $41.25 million this weekend, which is the third-biggest R-rated opening of the Covid era (since Bad Boys For Life in January of 2020) behind Jordan Peele’s Us ($44 million last July) and Halloween Kills ($49 million in October of 2021). The earlier two Halloween movies (even the 2018 one with great reviews and oodles of free media attention) were painfully frontloaded ($159 million from a $77 million debut and $92 million/$49 million), so we can expect likewise this time too.

    We’re still talking about a $33 million R-rated slasher threequel that had already earned $58 million global (including $3.5 million in IMAX) and should reach over/under $80 million domestic and around $115 million global. The Blumhouse trilogy cost about $63 million in total and should crack $500 million globally in the end. This is a franchise that, before 2018, had exactly one (Halloween H20 in 1998) well-liked and well-received (by the masses) installment. All due respect to the various champions of Revenge of Michael Myers, Curse of Michael Myers and Rob Zombie’s Halloween II, but Michael Myers spent even the 1980s taking a pop culture backseat to the likes of Fred Krueger, Jason Vorhees and Chucky. But now Michael Myers is currently the most profitable (budget versus gross) supernatural horror slasher of all, almost entirely due to the Blumhouse trilogy.

    This marks the 16th #1 opening for Blumhouse (including Freaky, which did not get a day-and-date Peacock/theater release). Universal has four of this year’s 12 $40 million-plus openings (Halloween Ends, Minions: The Rise of Gru, Jurassic World Dominion and Nope). That’s more than any other studio and sans any Marvel/DC properties. Even with Paramount
    PARA
    offering up a breakout horror hit right when Universal starts to get cocky (A Quiet Place in early 2018, Smile three weeks ago), the Comcast
    CMCSA
    -owned studio still is the unofficial king of the horror movie mountain (see also: The Black Phone), which feels appropriate since they helped invent the modern horror movie with their 1930’s Dracula, Frankenstein, Mummy and Invisible Man flicks. I wish their Universal Studios Halloween Horror Nights mazes were anywhere near as immersive and scary as Knotts Scary Farm (or at least had a Minions maze), but I digress.

    The only other major opener was the platform debut of United Artists’ Till. The well-reviewed and Oscar-buzzy (especially for Danielle Deadwyler) historical drama concerns the infamous murder of Emmitt Till, whose slaying (and much-publicized open-casket funeral) was one of the galvanizing moments of the Civil Rights movement. The Chinonye Chukwu-directed drama earned $240,940 from 16 theaters for a $15,059 per-theater average. It has a 100% fresh and 7.9/10 on Rotten Tomatoes, with 95% among verified users and, uh… 76% among unverified users (cough-review bombing-cough). It will expand next weekend into 150-200 theaters before going wide (alongside Tar) on October 28. Speaking of Tar, Cate Blanchett’s conductor drama expanded to 32 theaters. The Focus Features release will earn $360,000 (+127%) this weekend for a $10,000 per-theater average and $585,000 ten-day total. The Banshees of Inisherin opens in limited release next weekend.

    [ad_2]

    Scott Mendelson, Forbes Staff

    Source link

  • ‘RRR’ Launches Oscars Best Picture Campaign

    ‘RRR’ Launches Oscars Best Picture Campaign

    [ad_1]

    RRR is monumental. Not just as a foreign film, but as a film in general. For those unfamiliar, RRR is an Indian film which tells the story of two actual historical figures living under British rule. While the characters are real, the film is thoroughly embellished. If it wasn’t, we wouldn’t have some of the insane action scenes, the excellent musical numbers, or the expertly choreographed dance sequences.

    The film has been a hit with both audiences and critics in the United States since its debut earlier in the year, and now the film’s producers are pushing for it to be nominated for Best Picture at the upcoming Academy Awards.

    Despite the absolute spectacle that is RRR, it’s facing some pretty heavy odds. Only one film that wasn’t in English has ever won an Oscar, that being Bong Joon-ho’s tale of class warfare, Parasite. For whatever reason, it seems like Americans really have an issue watching films if they’re required to read subtitles. Maybe it’s oversaturation in the Hollywood market, which means that most people don’t go out of their way to watch foreign films.

    Whatever the outcome at the Academy Awards, RRR is completely worth seeing. If you can’t find it in some local arthouse theater or something like that, your best bet is to hop onto Netflix. It’s currently streaming there, albeit only in a Hindi-language version. Still, it’s better than not seeing the movie at all.

    The Best Movies of 2022 So Far

    Of all the titles released so far this year, here are the ones you have to see.

    [ad_2]

    Cody Mcintosh

    Source link

  • Exceptional Minds With Autism Have Screen Cred on 3 of 5 VFX Oscar Nominations

    Exceptional Minds With Autism Have Screen Cred on 3 of 5 VFX Oscar Nominations

    [ad_1]

    Exceptional Minds visual effects artists on the spectrum earned screen credit for visual cleanup and/or title work on “Star Wars: The Last Jedi,” “Guardians of the Galaxy Vol 2,” and “War for the Planet of the Apes.”

    Exceptional Minds Studio earned screen credit on three of the five Oscar nominated movies in the visual effects category announced by the Academy of Motion Picture Arts and Sciences yesterday.

    Exceptional Minds Studio is the industry’s only working visual effects and animation studio of young professionals on the autism spectrum. Since opening its doors almost four years ago, the small studio has worked on visual effects for more than 50 major motion pictures and/or television series, including “The Good Doctor,” “Game of Thrones,” and “Doctor Strange.”  

    Many of our artists never even dreamed they would be working in this industry.

    Susan Zwerman, Exceptional Minds Studio Executive Producer

    “Star Wars: The Last Jedi,” “Guardians of the Galaxy Vol. 2,” and “War for the Planet of the Apes” are on the studio’s list of more recent visual effects and title work for hire. All three films are up for the visual effects Oscar at the upcoming Academy Awards. “Each film is so deserving of this award. The vfx teams we worked with on each of these movies were beyond professional, and we are so thankful that they gave our artists the opportunity to work with them,” said Exceptional Minds Studio Executive Producer Susan Zwerman.

    “Many of our artists never even dreamed they would be working in this industry,” she added.  “I couldn’t even imagine doing this when I was young,” agreed Patrick Brady, one of the Exceptional Minds vfx artists on the autism spectrum.

    An estimated 90 percent of the autism population is under employed or unemployed, and few training programs exist to prepare young adults with autism for meaningful careers.

    Exceptional Minds Studio contracts out to the entertainment industry for roto & paint, tracker removal, split screen, green screen keying, and compositing as well as end title credit work and 2D animation. It is staffed by graduates of Exceptional Minds, which is the first vocational school of its kind to prepare young men and women on the autism spectrum for careers in visual effects and animation.

    “These young adults are proving that people with autism can not only work meaningful careers, but also thrive in the competitive entertainment industry,” said Exceptional Minds Executive Director Ernie Merlán.

    Autism is the fastest-growing developmental disability in the U.S.

    Contact: Dee McVicker, 602-319-6912 or deemcv@grassrootsco.com

    Source: Exceptional Minds

    Related Media

    [ad_2]

    Source link