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Entries in The Witch (27)

Sunday
Feb212016

Box Office As Told By Animal Emojis

01. $55 million (cumulative $235.3)

02. $12.5 million (cumulative $117.1)

 

03. $11.8 million (new!)

04. $8.6 million (new)

05. $8.2 million (cumulative $31.7)

06. $7.2 million (new)

07. $5.5 million (cum. $23.7)


08. $3.8 million (cumulative $921.6)

09. $3.8 million (cumulative $165.1)

10. $2.6 million (cumulative $26.1)


What did you see this weekend?
I went to The Witch again and it was just as good as I remembered from TIFF.

But let's go from the great to the terrible. When was the last time you chanced upon something truly awful? I ask this because last night, bone tired, and flipping channels I came across The Crow: City of Angels (1996) in its opening scene. I had never seen it and for a minute I mistook it for The Crow: Salvation (2000) which I have also never seen and thought to myself  'Self, hey, watch a few minutes since Kiki Dunst is in this' About 20 minutes later, I turned it off, jaw long since acclimated to floor. Every single scene was worst than the last. It was truly incompetent and absurd and mine eyes had witnessed some of the most atrocious acting ever committed to celluloid.

 

Wednesday
Feb172016

Links: Misunderstood Meryl, Angry Leo, Cheap Deadpool

MNPP All is well since Jason has seen The Witch and loves it. It's so spooky, guys. Go see it this weekend
Pajiba "11 Things I Learned from 'Star Wars and the Power of Costume' Exhibit"
Playbill Bull Durham: The Musical (?) may be headed to Broadway soon
Scriptnotes how to introduce characters in screenplays without being mocked on Twitter. (For those of you are like what? This is in reference to a recent writing controversy that we spoke of right here)
i09 says Zootopia is the best film Disney Animation has made in 20 years (!) 


MNPP freaks out over the new Pee Wee Herman Netflix trailer
Simply Streep Screencaps of Meryl Streep in the Florence Foster Jenkins teaser
Boy Culture have you heard about Strike a Pose, the documentary about the Madonna documentary Truth or Dare?
Boy Culture your semi-annual reminder that Miriam Margolyes is an international treasure and gay hero 
Awards Daily "everyone owes Meryl Streep an apology"
/Film Julianne Moore offered the villain role in The Kingsmen 2. This historically hasn't gone well for her (See: The Seventh Son or Hunger Games) Why Julianne? You already have tons of money.
Hairpin "how not to write something" 
Toyland the coolest stuff from Toy Fair 2016 including *gasp* female action figures

Deadpool at #1
i09 everything they cut out of Deadpool to get the budget way down (which now means its going to be insanely profitable)
/Film Rumors are that Wolverine 3 is considering an "R" rating following Deadpool's success 

And James Gunn, who did the superheroes being mocking and sarcastic before Deadpool, took to Twitter to hype his forthcoming blockbuster...

 

 

Oscar Mania
The Guardian on why The Big Short should win Best Picture. I haven't to admit I couldn't follow this argument at all (perhaps you can?) but maybe I was just thrown because they start the video talking about surprise winners and cite Forrest Gump. Forrest Gump? Of all movies. That was a behemoth that year and couldn't lose. People say such strange things when they're talking about the Oscars!
• THR Robert Richardson and other cinematographers calling for a separate category for VFX heavy films. I absolutely agree that this is a problem - this year not so much but usually
RED CARPET RAMPAGE. Help Leonardo DiCaprio finally win his Oscar! I tried to play this on my phone last night. It's actually hilarious. Especially the bonus round "Act Harder!" LOL...

 

 

Tuesday
Nov172015

Special Report: Spirit Awards Preview/Predictions

?????The Spirit Award nominations are announced a week from today. Here's special guest and our podcast cohort Joe Reid to preview/predict the nominations.

The 2015 Film Independent Spirit Awards will announce their nominations next Tuesday, the earliest full slate of nominations (the Gothams can call me when they get supporting categories) and for many the clearest opening bell for awards season. After them, the critics awards start rolling in, then the Golden Globe nominations, and by then we're off to the races. I have always found the Spirits to be the most difficult to predict and the most fun. Partly because they happen so early in the season but also partly because the qualifications are always just a bit mysterious.

A reminder, per the Spirits' rules and regs: to qualify, a film must be an American film made for under $20 million, and have either been released in theaters in 2015 or played one of six major U.S. festivals (Sundance, Los Angeles, New Directors/New Films, New York, Telluride, Toronto). Of course, even with those rules, there are splittable hairs. 

predictions after the jump

Click to read more ...

Sunday
Oct182015

London Film Fest Hoopla: Cate Blanchett, The Witch, Female Directors

The BFI London Film Festival wrapped up yesterday and with festival wraps (well, the juried festivals) come awardage. The big news for our actressy purposes was of course Galadriel receiving her BFI fellowship from Gandalf. More hoopla after the jump...

Click to read more ...

Sunday
Sep202015

TIFF Quickies: 45 Years, Invisible, The Witch, and more...

Five quick takes because otherwise I won't get around to writing about these! Grades are not binding and these are first quick impressions.

45 Years (UK, Andrew Haigh)
That sound you hear over a black screen as the film opens is a slide projector. If it hadn't been for Mad Men's Carousel that long defunct sound might not have been so easy to place. The slides will be important later on but to quote that famous episode:

This is not a spaceship, it's a time machine. It goes backwards and forwards, and it takes us to a place where we ache to go again."

Don Draper's famous monologue could well be a description of this film, too. The past suddenly rushes forward into the present via a letter bearing strange news and the husband (Tom Courtenay) aches too visibly to go back to it as the wife (Charlotte Rampling) slowly begins to reframe their lives between then and now. In his very short film career Andrew Haigh has shown a remarkable skill at romantic drama through the prism of time  (the impactful of the moment and the brevity of a Weekend, and the half century of a marriage through recalled feeling). The film is cooly mounted, not just in its color palette and the weather but in its chill vibe; nothing at all is really happening but everything is being considered and reframed. 45 Years opens on December 23rd - Sundance Selects is apparently trying the exact same play they did for Marion Cotillard last year for Charlotte Rampling. Let's hope it works because she rises exquisitely to this film's challenge. A-

Invisible (The Philippines, Lawrence Fajardo)
The first scene in Invisible focuses on a steam pot that's getting ready to blow as we hear a conversation offscreen. That's a non too subtle way to announce a slow simmering drama ahead but typical of the visual strategy of placing a camera in one place and just watching, even when there's little to see. Fajardo looks at the plights of Filipino immigrants in Japan with both tenderness and hopelessness in these interconnected stories. Aunt Linda () ties the stories together as a landlady who permits illegals to rent her apartments -- she is not an illegal as she has been married for decades to a Japanese man -- but her heart is still with the Filipino immigrant community who she checks in with regularly.

Among the stories is a middle aged gay romance, a sad hustler aging out of good paychecks and starting to look pathetic in the stage shows with his young twink competition, and a hardworking young man who runs into dangerous trouble with a coworker. I really wanted to love this picture. It's heart is in the right place and certain scenes have distinct empathetic pleasures. But the director, who admitted in a Q&A afterwards that he was trying to convey the drudgery of these lives, does that too well. The pace is excruciating in the way only art films can be when they aren't careful about when to hold a shot and when to let one go since there's actually no scene there. B-/C+


As I Open My Eyes (Tunisia, Leyla Bouzin)
I believe this is the first Tunisian film I have seen and I was often at a loss for exactly what was happening. To explain: the plot is easy enough to follow but the politics are not. Set during the Arab Spring this sensitive picture circles a young woman who is due to start medical school but just wants to sing for her band. The band is continually warned that they're in trouble with the police -- but they each have different ideas about what they can get away with -- but listening to their lyrics I could never suss out exactly why they were so threatening. The music is a major selling point and the young star is lovely though I wish the concert scenes and the camerawork had not been so repetitive from a visual standpoint -- the star's innocent but flirtatious smile is totally endearing but there are a thousand closeups of it. The combative but loving mother/daughter relationship which starts as the subplot and gradually takes over is unexpectedly compelling by the melancholy older-but-wiser end. B

Eva Doesn't Sleep (Argentina, Pablo Agüero)
Finally a movie for Argentinian Politics Majors who are also Necrophiliacs!

What did I just watch? I think it was good --- possibly very good though it's unpleasant. This brilliantly titled film was among the most challenging films at the fest. Agüero presents a stylized history of Argentinian politics from the 1950s onward through the much-fetishized dead body of Eva Peron and the various men in charge who are defeated by both her memory and their inability to rid the country of her body. It's rare to see a film so fully embrace the POV of its villains -- the various narrators, dictators, politicans, soldiers and so on are nearly all misogynists who hate Evita (you hear "that bitch" more times than you'll be able to count) and despise the working classes who adore her. Some scenes go on interminably but many of the images have a weirdly hypnotic resonance and willfully begin or end in abstraction from lighting (particularly in Gael Garcia Bernal's segment), color (particularly in the Embalming sequence) or Denis Lavant (particularly in the Denis Lavant scene).

GradeWTF

The Witch (Robert Eggers)
If you've managed to stay blind and deaf to this film's content, stay that way. Do not read this blurb because it's best to go in cold. The Witch takes place in the 17th century when a Puritan couple, banished from their village community in New England, seek to begin anew. They build a home and farm in the clearing near a heavy wood for their goats, chickens, and four children. Almost immediately an unthinkable tragedy strikes. Debuting director Robert Eggers is supremely confident with the slow build even though he has the nerve to reveal the culprit immediately and then make you wait. Though some of the scenes are predictable once you're inside them, by then the film already has you frozen in your seat with its commitment to the unfortunate collision of Pious, Ignorant, Paranoid Christians and Terrifying Unfathomable Evil. It's hard to describe how spectacularly creepy and perverse it all feels in the last half hour. What a ballsy debut!  A-

more from TIFF