Vintage '02

Our "Year of the Month" or, rather, first half of the month, is 2002. We've already talked Frida and Unfaithful , Viola's first bigscreen breakthrough, and Nicole's Best Actress win. We also introduced you to the Smackdown Panelists who'll be talking about the Best Supporting Actress race on June 17th so here's more context for that year in pop culture time...

 

Great Big Box Office Hits:
The leggy sleeper hit My Big Fat Freek Wedding, M Night Shyamalan's alien-invasion movie Signs, and the animated Ice Age were the top three "original" hits. Sequels or franchise launchers, were, as ever in our modern era, the very biggest hits with Sam Raimi's Spider-Man, and the then-latest Star Wars, Lord of the Rings, and Harry Potter installments as the top four titles. The musical adaptation of Chicago was also a smash. And the major Oscar favourite. More on that after the jump... 

Click to read more ...

My Big Fat Superhero Wedding Sequel

Batman v Superman + a little Wonder Woman dominated the weekend with a critic proof opening record for March. The test will be how well it can hold with terrible reviews and lackluster word of mouth. It's unlikely to have the staying power of something like Deadpool for example, which is still in the top ten 7 weeks after its debut. On the other hand it has free reign for a while with no direct competition coming for one entire month. Captain America Civil War arrives on April 8th. The question is this: Will Marvel's superheroes vs superheroes blockbuster be hurt by people feeling all "bleh" about Batman v Superman? Casual moviegoers rarely know the difference between studios and filmmakers and general history of quality, you know.

Meanwhile something girlier: Sally Field's little film is doing great with older moviegoers and enters the top ten in its 3rd week despite being on less than 500 screens. And finally, despite her phenomenally successful My Big Fat Greek Wedding being an ancient memory in pop culture years, Nia Vardalos's sequel did pretty well with a solid third place debut.  She tweeted out this celebratory opening weekend photo

We've never had a billboard.

What did you see this weekend?

TFE is very pleased to notice that Embrace of the Serpent, Colombia's Oscar nominated Amazon journey (which we've been raving about for months) is about to hit a million in the arthouses if it can hold its theaters for one more week. That's pretty good for such a weird black and white movie that didn't really get going until it had already lost the Oscar! 

TOP TEN
01 Batman v Superman $170.1 NEW Review
02 Zootopia $23.1 (cum. $240.5)  
03 My Big Fat Greek Wedding 2 $18.1 NEW
04 Miracles from Heaven $9.5  (cum. $34.1)
05 The Divergent Series: Allegiant $9.5 (cum. $46.6)
06 10 Cloverfield Lane $6 (cum. $56)
07 Deadpool $5 (cum. $349.4)  Reviewish
08 London Has Fallen $2.9 (cum. $55.6) 
09 Hello My Name is Doris $1.7  (cum. $3.2) Review 
10 Eye in the Sky $1.0 (cum. $1.7) 

RANDOM LIMITED RELEASES - JUST CHECKING IN
Embrace of the Serpent $.1 (cum. $.9) 73 screens Review, Interview
Knight of Cups $.06 ($.4) 68 screens Reviewish
I Saw the Light $.05 five screens NEW Review
Krisha $.03 (cum. $.05) 22 screens Review
April and the Extraordinary World $.01 one screen NEW 

Guardians of the Box Office. What Did You See This Weekend?

Amir here, with the weekend’s box office report. As expected, Guardians of the Galaxy topped the week’s chart, though it wasn’t quite expected that it would do this well. In true Marvel fashion, the previous record for the month of August has been blown up with a big bang, what with Guardians taking in nearly $25m more than Bourne Ultimatum. As I’m sure you know, I haven’t yet seen the film. Nathaniel has but is not enthused. 

WEEKEND BOX OFFICE
01 GUARDIANS OF GALAXY $94 *NEW* Review
02 LUCY $18.2 (cum. $79.5)  
03 GET ON UP $14 *NEW*
04 HERCULES $10.7 (cum. $52.3)
05 DAWN OF THE PLANET OF THE APES $8.7 (cum. $189.3) Reviewish & Podcast
06 PLANES: FIRE AND RESCUE $6.4 (cum. $47.5)
07 THE PURGE: ANARCHY $5.5 (cum. $62.9)
08 SEX TAPE $3.5 (cum. $33.9) 
09 AND SO IT GOES $3.3 (cum. $10.4)
10 A MOST WANTED MAN $3.3 (cum. $7) Review

The other big opening of the weekend, the James Brown biopic Get On Up finished below Lucy, faring slightly better than that Clint Eastwood musical biopic no one liked earlier this year.

Just outside the top ten, there is Boyhood, now IFC Studio’s third best selling film of all time. Here’s an interesting statistic: My Big Fat Greek Wedding, IFC’s best selling film, has grossed more than all the studio’s other 331 films, combined. Even more mind-blowing than that fact is the below possibility:

I asked Richard Linklater about a Boyhood sequel. His answer was fantastic. pic.twitter.com/YV1OfgPBam

— Simon Crook (@sicrook) August 2, 2014

The prospect of a sequel to Boyhood doesn’t excite me much, but entertaining the thought that it could be in some way related to the Before trilogy is really messing with my head and I like it!

Other than Guardians, only two films boasted a better per screen average than Boyhood: Magic in the Moonlight and Calvary, a new limited release with a surprisingly strong opening and quite limited wide potential, I imagine. Otherwise, the small market remained relatively quiet. And so did I. August should be the month when I get back into gear and hit the theaters, but for now, these are all just names to me.

What did you watch this weekend?

Oscar Quandaries: Original OR Adapted?

The Screenplay categories were not always as fluid as they are now and once adhered to very strict rules about a script's prior existence. Now, they let you get away with a little fudging which started in force a dozen years ago when Gangs of New York and My Big Fat Greek Wedding, which had spent all of their pre-release hype talking about being adapted from [insert fabulous thing here] were suddenly "originals" through complicated explanations once awards season was in sway and it became clear that the original category was infinitely less competitive. Since then much has changed and now previously established characters is a thing everyone does to fight for adapted (when it suits them) and the lines are really blurry.

ADAPTED OR ORIGINAL. EITHER COULD HAPPEN...

So here are four plus movies that seem like they're balancing on a wire between original and adapted. Which way will they fall? 

Bruce Wagner's Maps to the Stars screenplay was a screenplay first, then it became a novel ("Dead Stars") when the movie plans fell through. It's now a screenplay again for a David Cronenberg movie. So if the movie picks up steam once it's released and not just as a curio given Julianne Moore's Cannes win, who knows? In ye olden times this would clearly be Adapted because the old hard line was once 'Previously Published or Produced Material'... but now I'm not sure.

Wes Anderson's Grand Budapest Hotel is "inspired by" the writings of Stefan Zweig ... which might mean adapted but "inspired by" is also the excuse Gangs of New York used to change its campaign from adapted to original. So I'm guessing this is up in the air until Fox Searchlight really starts campaigning (and they should).

Werner Herzog's Queen of the Desert is based on the life story of Gertrud Bell but so far there are no books credited on IMDb or in articles about the film. Several books have been written about her. Is this a Milk situation where it will claim "original" despite vast reams of information to draw from written by others? And if so, is there anything wrong with that? Perhaps we need a third screenplay category for true stories that are adapted from a wide variety of sources. Other True Story This Might Apply To: Pawn Sacrifice another film about chess prodigy Bobby Fischer)

Damien Chazelle's music drama Whiplash, which has been very well received in the festival circuit, seems like the type of indie that could make waves in Original Screenplay. Only problem is it's technically adapted. It's based on Chazelle's own short film of the same name. This same situation occurred last year with Short Term 12. To date I'm not aware of anyone who tried to argue that adapting yourself is not a thing -- even Nia Vardalos, when Greek Wedding changed course argued that she'd written her comedy hit as a screenplay first before adapting it into a play so therefore it was an original (Bruce Wagner could argue the same this year for Maps to the Stars if he wants).

Under the old clear rules of "previously published or produced" you couldn't get around this even if you absolutely wrote the thing as a screenplay first but for the past 12 years these categories are more fluid and I wouldn't put it past some savvy strategist to claim original and basically negate the hypothetical 'can you adapt your own movie into a new movie?' question when it comes to these categories. 

SCREENPLAY CHARTS