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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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    More: Box Office
  • 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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  • The Playlist
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    Director's Guild Of America Names 'The Artist' Helmer Michel Hazanavicius Outstanding Director Of The Year

    It's a decade since the winner of the Director's Guild of America award went on to lose the Oscar -- Rob Marshall picked up the DGA prize for "Chicago" in 2002, only to lose out to Roman Polanski for "The Pianist" at the Academy Awards. Two years before that, DGA winner Ang Lee was beaten by Steven Soderbergh. In the last forty years, only four in total (the others being Steven Spielberg for "The Color Purple" and Ron Howard for "Apollo 13," neither of whom even picked up Oscar nominations) have won with the Director's Guild without picking up the Oscar.

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  • Press Play
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    OSCARS DEATH RACE: A CAT IN PARIS

    At first I couldn't understand how "A Cat In Paris" had nabbed an Animated Feature nomination with animation this crude. In fact, at first I couldn't understand "A Cat In Paris" period. For reasons that don't bear explaining, I watched it without subtitles, and my French doesn't go much farther than cheeses, swears, and synonyms for "hurry up."

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  • Thompson on Hollywood
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    DGA Award Winner 'The Artist' Continues its Winning Roll

    Michel Hazanavicius took home the DGA Feature Film Award for "The Artist" Saturday night. The DGA also awarded winners in nine other categories during the 64th Annual DGA Awards Dinner at Hollywood & Highland in Los Angeles. Historically the DGA winner not only goes on to win best director but best picture at the Oscars.

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  • Press Play
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    MATT ZOLLER SEITZ: The Sexy, Gory, Low-Rent Spectacle of SPARTACUS: VENGEANCE

    "Spartacus" is back with a new Spartacus. Both the new actor and the revamped series take some getting used to. For the most part, the reincarnation works, in large part because this cable franchise doesn't have a pedigree to sully. The latest edition, "Spartacus: Vengeance," picks up where the original 2010 hit "Spartacus: Blood and Sand" left off, with the title character and his lusty band of former slaves afflicting their former Roman masters, and the Romans trying to contain the rebellion.

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