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  • SydneysBuzz
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    Evan Shapiro's Festival Films to TV Series

    I like Evan Shapiro's blog, 15 Film Festival Darlings That Would Have Been Better as TV Series, and am posting it here for my readers. If you read my article to the end and read Evan's article along side of it, and if you like the ideas expressed, then help spread the word. Maybe Sundance itself will take note and I will have accomplished my mission of making this independent world of ours more accessible to more people in more ways. BTW, the photo is of me, Jeannie Berney and Dana Harris in the "good old days" of 2002 at Sundance.

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  • The Lost Boys
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    Cinematic Catharsis at the 2012 Sundance Film Festival

    Alright, I'm going to go there: The past 12 days at the Sundance Film Festival were a bit of a rough ride. And not simply because of severely first world problems like high altitute, long lines for free liquor, mediocre movies or alcohol-fueled exhaustion. Fresh from the extraordinarily despondent end of a 6-year relationship (that frankly was challenged by the essential double life that comes from spending half your time at film festivals), I made my way into Park City hoping somehow for distraction and comraderie and that sense of professional community that makes Sundance such an occasionally magical place.

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  • Thompson on Hollywood
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    Santa Barbara Performer of the Year and Oscar Front-Runner Viola Davis Seeks Roles "You Can Sink Your Teeth Into"

    At the height of awards season, at the 27th Santa Barbara International Film Festival, Myrlie Evers-Williams, widow of slain Civil Rights activist Medgar Evers, presented actress Viola Davis with the Outstanding Performer of the Year Award Friday,

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  • The Playlist
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    Sundance Review: Weird & Sometimes Confusing 'John Dies At The End' Is Still An Odd & Engaging Genre Treat

    The problem addressing fans of “Midnight” films and wacky horror can succinctly be found in the opening of Don Coscarelli's “John Dies At The End.” It involves axe handles, zombies, mutant leeches, axe heads, hardware store trips and answering a dead man as to whether or not the axe in question is the same that killed him. Confused? If you are, then you don't want to stick around. If you're too overjoyed that the spiritual successor to Sam Raimi has appeared, you're in luck.

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  • The Playlist
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    Sundance: James Marsh Talks 'Shadow Dancer,' Circling 'Tinker Tailor' & The Oscar Snub For 'The Interrupters' & 'Senna'

    The culmination of James Marsh's slow-burn thriller “Shadow Dancer” is a change of color and a rather sudden spoiler engulfed in a fireball. But it's also another change in direction for the Oscar-winning director of “Man On Wire” and last year’s “Project Nim” that again displays the helmer’s versatility, as he moves between feature films and documentaries. And with his latest starring Clive Owen and Andrea Riseborough, Marsh once again gives viewers a rich world worth exploring, this time in Ireland during The Troubles.

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  • Thompson on Hollywood
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    Weekend Box Office: Liam Neeson Indie 'The Grey' Freezes Out Three Wide Openers

    With three new wide releases hitting the marketplace this weekend, along with a bevy of expanded Oscar runs, Open Road’s “The Grey” froze out the competition as it took the top spot with an estimated $20 million. The health of the marketplace overall remained robust as the total for all films this weekend was around $126 million, up some 15% from the comparable session a year ago and marking the fourth consecutive up frame at the boxoffice.

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  • The Playlist
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    'Beasts Of The Southern Wild' Tops The 2012 Sundance Film Festival Awards

    It was a fait accompli pretty much from minute one. No other film at the 2012 Sundance Film Festival got as much buzz as 29-year-old first-time feature-length filmmaker Benh Zeitlin's "Beasts Of The Southern Wild," a mythical film about a 6-year-old girl who lives in a southern Delta community at the edge of the world (read our review here). And so it was no surprise that the film won the jury prize for best drama (and cinematography) at last night's Sundance awards ceremony.

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  • Shadow and Act
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    Weekend B.O. Jan. 27-29 (Black Cinema Hangs On!)

    Though it dropped 44% from last weekend, black cinema's Lord and Savior George Lucas' film Red Tails held on to the 4th place slot, beating Man on a Ledge; though it couldn't beat off Underworld Awakening, The Grey and One for the Money. And even that film stars the one person that EVERYONE hates - Katerine Heigl.

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  • The Playlist
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    Weekend Box Office: 'The Grey' Sees Green, While Audiences Stay Away From The 'Ledge'

    Good ole’ dependable Liam Neeson. This is the third straight early-year period where the character actor turned badass leading man has scored a number one hit. While “The Grey” couldn’t pull in the same numbers as “Taken” or “Unknown,” it did top $20 million. Not a bad figure considering this was a much less commercial beast, with an R-rating, and it’s arguable that few leading men could have gotten a man-vs.-wilderness drama into an eight figure debut. This is distributor Open Road’s second ever release. Their first, last year’s “Killer Elite,” seemed like a surefire commercial proposition, but it pulled in half of what “The Grey” is looking to make on this opening weekend. You could argue this was a bait and switch, as the ads centered around spoiling, and misinterpreting, the film’s ending -- Cinemascore was a not-entirely-kind B-. But everyone got the opening they wanted -- this puts Open Road on the map, it gets Joe Carnahan out of Director Jail following “The A-Team” and it continues Neeson’s winning streak. Also worth noting: throughout each week in 2012 so far, the number one slot at the box office has been filled by R-rated fare.

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  • The Playlist
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    Sundance Review: Richard Gere Shines In The Gripping Moral Morass Of 'Arbitrage'

    Robert Miller (Richard Gere) is celebrating his 60th birthday at the start of "Arbitrage," first with his family – including wife Ellen (Susan Sarandon) and daughter/chief financial officer Brooke (Brit Marling) – and then with his mistress, Julie (Laetitia Casta). As the hedge fund manager’s deep financial woes become apparent to us, one wonders if he isn’t wishing while blowing out two cakes’ worth of candles for the ability to convince every character around that he still has the Midas touch.

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