Indie News

‘The Wife’ & ‘We The Animals’ Bow Strong; ‘Three Identical Strangers’ at $10.5M in 2nd Month of Release: Specialty Box Office

‘The Wife’ & ‘We The Animals’ Bow Strong; ‘Three Identical Strangers’ at $10.5M in 2nd Month of Release: Specialty Box Office
Sony Classics’ The Wife with Glenn Close and Jonathan Pryce topped out a group of newcomer limited releases that mostly did decent numbers this weekend.

The 2017 Toronto debut by Björn Runge grossed $111,137 in four New York and Los Angeles locations in the three-day estimate, averaging $27,784. Sundance breakout We The Animals by Jeremiah Zagar from The Orchard also had a nice launch, playing three theaters in New York and L.A., for $66,261 and a $22,087 per theater average.

Ethan Hawke had two films out this weekend, one in which he stars and another he directed. Roadside Attractions/Lionsgate’s Juliet, Naked with Hawke, Rose Byrne and Chris O’Dowd launched in four theaters, grossing $60,922, averaging $15,230. Sundance Selects opened Hawke’s Blaze, which he co-wrote and directed, in three locations exclusively in Austin, TX over the weekend. The Sundance premiere grossed $45,342, averaging slightly lower than Juliet, Naked at $15,114.

Music Box Films, meanwhile, opened Emmanuel Finkiel’s French-language,
See full article at Deadline »

NatGeo’s ‘Jane’ gets 1/4 odds at the Emmys to wreak revenge against the Oscars

NatGeo’s ‘Jane’ gets 1/4 odds at the Emmys to wreak revenge against the Oscars
One of the best things about showbiz awards is that there are a lot of them, so it’s possible for worthy contenders to rebound triumphantly at a new trophy show after previously getting skunked at another. Call it the Hollywood Happy Ending Syndrome and now it looks like it is about to play out at the Emmys for NatGeo’s hugely popular, successful and critically acclaimed “Jane,” according to Gold Derby’s predictions (1/4 odds).

The documentary about the life and career of chimpanzee researcher Jane Goodall got cruelly slapped down by the doc branch of the Academy of Motion Picture Arts & Sciences earlier this year when it was left off of the list of Oscar nominees. The snub wasn’t “Jane’s” fault. The academy’s doc branch has a shameful history of denying gold to worthy
See full article at Gold Derby »

Chris Jericho to star in Kevin Smith’s horror anthology KillRoy Was Here

Chris Jericho to star in Kevin Smith’s horror anthology KillRoy Was Here
Last summer, Kevin Smith announced that he was shooting a horror anthology movie entitled KillRoy Was Here, which originally started out as a Christmas-themed Krampus film before morphing into what the filmmaker describes as a “modern day Creepshow kinda flick.”

Well, Smith has now taken to Facebook to provide another update, revealing that wrestling icon Chris Jericho is set to feature in the movie as “a nasty-ass South Florida streamer”.

Despite suffering a major heart attack earlier this year, Smith is showing no signs of slowing down. He’s gearing up to begin production on his return to the View Askewniverse, Jay and Silent Bob Reboot, has another episode of The CW’s Supergirl in the pipeline, and recently teased that he’s working on what could become his biggest-budgeted project of his entire career.

The post Chris Jericho to star in Kevin Smith’s horror anthology KillRoy Was Here appeared first on Flickering Myth.
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‘The Affair’ Season 4 Concludes With a Recommitment to Living, Even As the Show Readies For the End

  • Indiewire
‘The Affair’ Season 4 Concludes With a Recommitment to Living, Even As the Show Readies For the End
[Editor’s note: The following article contains spoilers for “The Affair” Season 4, Episode 10.]

For a show that’s rarely been all that big on the concept of optimism, the Season 4 finale of “The Affair” seemed to feature its characters… well, not in a particularly happy place, but certainly committed to moving forward with their lives. The men who loved Alison (Ruth Wilson) begin to process their grief for her, while the woman who stands to lose her own love seems to come to terms with that.

The absence of Wilson will be a blow going forward for this series, as the alternate universe version of “The Affair” Season 4, a season which wasn’t built in part around Wilson’s departure, is interesting to imagine. Would Alison have continued to find her own footing as she rebuilds her life? Or would her ongoing struggles ultimately sabotage all of the progress she’d made?

Another interesting question to consider is this:
See full article at Indiewire »

Asia Argento Settled a Sexual Assault Case Filed Against Her by an Underage Actor — Report

Asia Argento Settled a Sexual Assault Case Filed Against Her by an Underage Actor — Report
Asia Argento, a leading voice in the #MeToo movement and one of many women to publicly accuse Harvey Weinstein of sexual misconduct, settled a sexual-assault accusation made against her by former child musician and actor Jimmy Bennett last year, according to the New York Times. Bennett was 17 at the time of the alleged incident, which took place in 2013; Argento was 37. Bennett claims the alleged assault took place in a hotel room in California, where the age of consent is 18.

Bennett originally intended to sue Argento for $3.5 million for assault and battery, lost wages, and the intentional infliction of emotional distress. The case was settled for $380,000.

Carrie Goldberg, Argento’s attorney in the case, wrote that “we hope nothing like this ever happens to you again. You are a powerful and inspiring creator and it is a miserable condition of life that you live among s—-y individuals who’ve preyed
See full article at Indiewire »

Michael Shannon Will Never Play Donald Trump: ‘F—k That Guy’

Michael Shannon Will Never Play Donald Trump: ‘F—k That Guy’
Michael Shannon has played murderers, philosophical drug dealers, and Elvis Presley, but there’s one person he’ll never portray: Donald Trump. The two-time Oscar nominee is asked whether he’d be at all interested in doing so in the upcoming issue of Playboy, responding with an unequivocal “no” before detailing exactly why.

“He’s having the time of his life,” Shannon replies when asked whether he believes Trump is struggling with demons. “He doesn’t even have to work. All the hard work that most people have to do to get to be president of the United States, he just skipped all that. The fucking guy doesn’t even know what’s in the Constitution. He doesn’t have any grasp of history or politics or law or anything. He’s just blindfolded, throwing darts at the side of a bus.”

The actor scoffs at the notion of even
See full article at Indiewire »

‘Sharp Objects’ Review: All the Pieces Click Into Place in an Electrifying Episode 7 — Spoilers

‘Sharp Objects’ Review: All the Pieces Click Into Place in an Electrifying Episode 7 — Spoilers
[Editor’s Note: The following review contains spoilers for “Sharp Objects” Episode 7, “Falling.”]

“My mother did it.”

Four simple words have rarely been so powerful and meant so much. After a meeting with her Aunt Jackie (Elizabeth Perkins), Camille (Amy Adams) caught up with the viewers watching at home and realized what her mother, Adora (Patricia Clarkson), had done: She poisoned and killed her long-dead sister, Marion; she’s poisoning and killing her rebellious half-sister, Amma (Eliza Scanlen); and she may have poisoned and killed the other little girls in Wind Gap.

That’s a lot to take in, and given how much Camille already went through this episode — a painful connection with another grieving sibling, sex with her clothes off (scars exposed), and some harsh words from her closest ally, Richard (Chris Messina) — she handles the news pretty well. Yet setting aside what state Camille will be left in at series’ end, those watching at home should’ve responded pretty well,
See full article at Indiewire »

‘Crazy Rich Asians’ Is Tops as Asian-Americans Flock to Box Office

‘Crazy Rich Asians’ Is Tops as Asian-Americans Flock to Box Office
Crazy Rich Asians” (Warner Bros.) scored an impressive #1 box office position, topping $25 million for the three-day weekend and a five-day total of $34 million. Strong word of mouth and huge Asian-American audience interest fueled the box office.

Its appeal to an underserved niche audience was key, but more than 60 percent of its initial audience wasn’t Asian-American. It also pulled broad female interest (about two thirds of attendees) in a romantic comedy after a recent void in the marketplace; “Mamma Mia! Here We Go Again” opened a month ago.

Timing helped “Crazy.” Theaters were due for a comedy geared to the strong majority female audience in domestic theaters. But overdue doesn’t begin to describe how underserved the large and burgeoning domestic Asian-American audience is for films. They mark eight percent of frequent moviegoers. In the past quarter century, American studios have released only two wide pictures with Asian casts (1993 contemporary U.
See full article at Indiewire »

Netflix Is Now Playing Ads for Its Original Series While People Are Binge-Watching

The day you all feared has finally arrived: Netflix is now playing ads for its original series in between episodes of other shows. After reddit users complained about the change, the streaming giant confirmed that some viewers will now be seeing brief trailers for the likes of “Insatiable” while binge-watching.

“We are testing whether surfacing recommendations between episodes helps members discover stories they will enjoy faster,” Netflix said in a statement to Ars Technica. “A couple of years ago, we introduced video previews to the TV experience, because we saw that it significantly cut the time members spend browsing and helped them find something they would enjoy watching even faster.”

A rep for the company stressed that this is being done on a trial basis so far, but the implication appears to be that more and more users will see ads if they prove successful in increasing viewership for Netflix’s original series and movies.
See full article at Indiewire »

Glenn Close as ‘The Wife’ Leads Specialty Box Office; Two Ethan Hawke Films Pull Crowds

The rekindled enthusiasm for narrative specialty film continues. Sony Pictures Classics opened Tiff 2017 premiere, Glenn Close vehicle “The Wife,” to strong response, while Sundance 2018 debut “We the Animals” (The Orchard) led conventional two-city openings. Another Sundance movie, Texas native Ethan Hawke’s musical biopic “Blaze” (IFC), opened in Austin, Texas to strong initial results before heading to other cities.

And the torrid box office for documentaries has turned “Three Identical Strangers” (Neon) into the fifth specialized release since late spring to pass the $10 million mark. And that’s before any of these films have started awards campaigning.

Opening

The Wife (Sony Pictures Classics) – Metacritic: 75; Festivals include: Toronto 2017

$111,137 in 4 theaters; PTA (per theater average): $27,784

Glenn Close and Jonathan Pryce both nabbed raves for their performances in this drama set around the Nobel Literature Prize. This family drama opened in four prime New York/Los Angeles theaters, led by the Paris in Manhattan.
See full article at Indiewire »

‘Insatiable’ Star Debby Ryan Defends Show’s Controversial Use of a Fatsuit, Comparing it to ‘Friends’

It would be putting it mildly to say that “Insatiable” has not been well received, as the Netflix drama about fat-shaming has been accused of doing what it’s ostensibly criticizing. One aspect of the show that’s received particular criticism is its use of a fatsuit in flashback scenes, something that star Debby Ryan said she was initially hesitant about — and didn’t want to come across like it did in “Friends.”

“We knew that this conversation needed to be had. We knew that this societal brokenness needed to be addressed, but we didn’t know how badly it needed to be addressed,” Ryan says in an interview with Teen Vogue, her first about the polarizing series. “My friend, a few days before the trailer hit, in reference to something else, said, ‘The size of the reaction is the size of the wound,’ and it stayed with me.”

As for the fatsuit,
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‘Shades of Blue’ Finale: Ray Liotta Took the Part Because His Character Is Bisexual, Really Doesn’t Want Series to End

‘Shades of Blue’ Finale: Ray Liotta Took the Part Because His Character Is Bisexual, Really Doesn’t Want Series to End
When Ray Liotta was in “Goodfellas,” he wasn’t thinking about doing TV. After all, in the ’90s, television wasn’t something an film actor aspired to make.

“I was in movies [and] when I started, if you were doing a television show or commercials or something, you were at the end of the line,” Liotta said in an interview with IndieWire at the 2018 Atx TV Festival. “The films were drying up and these people starting going into [TV]. Karl Malden — an unbelievable actor who was in ‘On the Waterfront’ — he’s doing ‘Streets of San Francisco,’ but it was toward the end of his career.”

“As I’m learning [now], as [actors] get older and older, the less they want to travel, and television shows are mostly in one place,” Liotta said. “But no — [it also meant] your career was over.”

Then came the golden age of television, and with it, a role Liotta considers one
See full article at Indiewire »

‘Deadpool 2’ Would Have Had a ‘Fantastic Four’ Cameo If Tim Miller Had Directed It

‘Deadpool 2’ Would Have Had a ‘Fantastic Four’ Cameo If Tim Miller Had Directed It
Deadpool 2” features its fair share of cameos — the reveal of who actually played the Vanisher was a moment unto itself, as was a brief glimpse of who’s in the X-Mansion — but at least one didn’t make final cut. Tim Miller, who directed the first film and was eventually replaced on the sequel by David Leitch, wanted to give the Fantastic Four some screentime in a climactic fight against the Juggernaut.

The intel was revealed by concept artist Alexander Lozano, who shared a picture of the Thing on Instagram. According to him, Miller “wanted to make sure that I orient myself in the design as close as possible to the comic template to finally give us, the fans, what we always wanted to see on the big screen.”

Ryan Reynolds had more creative control over “Deadpool 2” than he did with the first film, and Miller departed the
See full article at Indiewire »

Love in Fractured Times: New Films Speak to the Power of Memory as a Means of Survival

Love in Fractured Times: New Films Speak to the Power of Memory as a Means of Survival
A scent takes us back to childhood. A flavor transports us to the strange dish tasted during the course of a trip. The memory always works by interconnections. It is easier to access memory through the senses than through intellectual means.

As a result, it is inevitable that this phenomenon is strongest felt in reminiscences of our childhood, when our senses were more vivid. Old memories can be surprisingly vivid. Dominga Sotomayor, the winner of the Leopard for Best Director for her film “Too Late to Die Young,” understands that perfectly. In her film, memory is always related to the atmosphere of a particular time and a particular place; the film is brilliant for the way Sotomayor creates a complex network in which these details interact.

The film is set in the early nineties in Chile, just after the fall of the dictatorship of Augusto Pinochet. Sotomayor quickly introduces us
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Keanu Reeves and Winona Ryder Might Be Legally Married, and We Have Francis Ford Coppola to Thank

Keanu Reeves and Winona Ryder Might Be Legally Married, and We Have Francis Ford Coppola to Thank
Keanu Reeves and Winona Ryder, who star together in both the new rom-com “Destination Wedding” and the collective imagination of the entire internet, might not actually need to tie the knot. In an Entertainment Weekly interview occasioned by their new film together, Ryder revealed that the two “actually got married in ‘Dracula.’ No, I swear to god I think we’re married in real life.”

“In that scene, Francis [Ford Coppola] used a real Romanian priest,” she added. “We shot the master and he did the whole thing. So I think we’re married.” This apparently came as news to Reeves, whose memory of the joyous occasion wasn’t as clear as that of his co-star/potential wife: “We said yes?” he asked.

Ryder responded, “Don’t you remember that? It was on Valentine’s Day.” To that, Reeves could only say, “Oh my gosh, we’re married.”

Whether their nuptials are
See full article at Indiewire »

‘Billionaire Boys Club’ Made Just $126 on Friday, Which Is Way Less Than $1 Billion

‘Billionaire Boys Club’ Made Just $126 on Friday, Which Is Way Less Than $1 Billion
Billionaire Boys Club” — which, unlike “All the Money in the World,” did not replace Kevin Spacey with Christopher Plummer after the two-time Oscar winner was accused of sexual misconduct late last year — didn’t exactly live up to its title this weekend. The financial thriller made a paltry $126 on its opening day, when it opened in 10 theaters across the country; it’s been available via VOD since the end of July.

In June, Vertical Entertainment released a statement explaining why it was moving ahead with the film’s release in spite of Spacey’s presence. “We hope these distressing allegations pertaining to one person’s behavior — that were not publicly known when the film was made almost two-and-a-half years ago and from someone who has a small, supporting role in Billionaire Boys Club — does not tarnish the release of the film,” it reads in part. “In the end, we hope
See full article at Indiewire »

‘Crazy Rich Asians’ Debuts With An Impressive 5-Day Total As Box Office Risk Appears To Pay Off

The folks behind the scenes for the film “Crazy Rich Asians” had a big decision to make before beginning production — Netflix or theatrical? As author Kevin Kwan and filmmaker Jon M. Chu discussed during the press rounds, they had to decide between a “gigantic” payday (and a guaranteed trilogy) with Netflix or risk it all on a theatrical run that could end up crashing and burning.

Continue reading ‘Crazy Rich Asians’ Debuts With An Impressive 5-Day Total As Box Office Risk Appears To Pay Off at The Playlist.
See full article at The Playlist »

Locarno Filmmakers Academy 2018: Meet Some of the World’s Most Exciting New Filmmakers

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Locarno Filmmakers Academy 2018: Meet Some of the World’s Most Exciting New Filmmakers
The following article was produced as part of the 2018 Locarno Critics Academy, a workshop for aspiring film critics that took place during the Locarno Film Festival.

The annual Filmmakers Academy at the Locarno Festival in Switzerland selects some of the most promising talents in contemporary film from around the world, offering them vital networking opportunities, screenings at the festival for their existing short films, and masterclasses with a line-up of guest directors. This year’s talks from established filmmakers included musings from Bruno Dumont and festival jurors Jia Zhangke and Sean Baker.

During the festival, five participants spoke about their work to date, their aspirations, how the conditions for filmmaking in their home countries have informed their career progress so far, and what they expect to do next.

Carolina Markowicz

Based in and originally from São Paulo, Brazil, Carolina Markowicz has written and directed five short films to date. “Tatuapé
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“Even Before It’s a Vision, It’s a Need”: Director Jeremiah Zagar Talks the Creative Process and his New We the Animals

“I will do everything you do.” Filmmaker Jeremiah Zagar (In a Dream) dubs that his motto, his ethos, while on set. And when you watch his simultaneously epic and beautifully specific film We the Animals, it will come as no surprise that Zagar created for his collaborators such a collaborative, safe space for taking risks. Premiering at Sundance Film Festival this year where it won the Next Innovator award, it’s the first narrative feature for Zagar. His documentarian’s eye combined with his ability to draw vulnerable and vibrant performances from his cast creates sparkling portrait of three young boys discovering […]
See full article at Filmmaker Magazine_Director Interviews »

“Even Before It’s a Vision, It’s a Need”: Director Jeremiah Zagar Talks the Creative Process and his New We the Animals

“I will do everything you do.” Filmmaker Jeremiah Zagar (In a Dream) dubs that his motto, his ethos, while on set. And when you watch his simultaneously epic and beautifully specific film We the Animals, it will come as no surprise that Zagar created for his collaborators such a collaborative, safe space for taking risks. Premiering at Sundance Film Festival this year where it won the Next Innovator award, it’s the first narrative feature for Zagar. His documentarian’s eye combined with his ability to draw vulnerable and vibrant performances from his cast creates sparkling portrait of three young boys discovering […]
See full article at Filmmaker Magazine »
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