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  • Thompson on Hollywood
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    AFM Panels: Weinstein Loves iPad, Barber Talks MGM, Deconstructing Global Markets

    The American Film Market is under way in Santa Monica. Here are ten things Anthony D'Alessandro learned at AFM panels.

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  • Thompson on Hollywood
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    AFM Breaking News: FilmDistrict Acquires "Lockout"

    In yet another deal at AFM, FilmDistrict continues its genre buying spree, acquiring all U.S. rights to sci-fi thriller Lockout, starring Guy Pearce (Memento) and Maggie Grace (Taken).

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  • Thompson on Hollywood
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    AFM Breaking News: Weinstein Co. Nabs Rights to Bekmambetov's Contest Movie "Apollo 18"

    Attendance is down at the American Film Market, but there are still buyers and sellers there, among them the Weinstein Co., which is announcing a pre-buy on sci-fi thriller Apollo 18, a moon-travel movie written by Brian Miller, who won a screenwriting contest mounted by producer Timur Bekmambetov (Wanted), who has set Trevor Cawood to direct. Point is, many movies at AFM are wannabe projects that do not yet exist. Having a distributor in place helps to make a movie more bankable.

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  • The Playlist
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    Box-Office: R-Rated 'Due Date' Can't Outwit The Animated 'Megamind'

    It had all the ingredients of a big winner. "Due Date" was widely known as Todd Phillips' R-rated follow-up to the massively successful R-rated "The Hangover," and he had that film's biggest breakout comedian Zach Galifianakis onboard, plus one of the world's biggest stars Robert Downey Jr. But perhaps seasonal timing is everything. "The Hangover" was a surprised hit in the early summer of 2009, and perhaps R-rated comedy that's occasionally nasty doesn't work quite as well in the fall. It's also possibly one of those instances when audiences actually listened to critics for once. "Due Date" was met with mixed reviews and currently holds a rather pitiful 39% rating on Rotten Tomatoes, far worse than any of us would have anticipated. So while we drubbed the film in one review and then said in another, "hey, it wasn't that bad," clearly its caustic notes -- which some of us actually appreciated -- didn't work with audiences or critics so much. That said, its 2nd place $33.5 million opening wasn't dreadful by any means and is nothing to be ashamed of, but in terms of box office punditry, well, it slightly underperformed. Conversely "The Hangover" made $44 million on its opening weekend, but positive word of mouth meant the following weekend drop-offs were remarkably low (only 28% in its 2nd weekend and a remarkable 18% in its third weekend when the film started picking up steam as the runaway hit of the summer). So yeah, not a disaster for Phillips by any means, but he'll want to top this with "The Hangover 2" to keep his comedy cachet up there and frankly, with a well-known sequel like that, doing double what "Due Date" took in is conceivable.

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  • Thompson on Hollywood
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    Script Watch: Jessica Alba Disses Writers, Haggis Romantic Ensemble, Nemirovsky's "Suite Francaise"

    - Some actors think that a script is irrelevant. According to Elle cover-girl Jessica Alba: “Good actors never use the script unless it’s amazing writing. All the good actors I’ve worked with, they all say whatever they want to say.” Which "good actors" could she be referring to? Her co-stars in Fantastic Four? The Killer Inside Me? Paul Walker in Into The Blue? She does offer a hint of self-awareness when she adds: "I know I haven’t been swimming in the deep end with some of the movies I’ve done. I wasn’t trying to. I knew what they were.” She co-stars with Ben Stiller in this Christmas' Little Fockers and intends to reinvent herself as the next Lucille Ball. Wonder if she'll just be making it up as she goes along?

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  • Thompson on Hollywood
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    Weekend Box Office: Animated "Megamind" Outsmarts R-rated Comedy "Due Date"

    Marking a possible record-setting weekend at the box office, animated comedy Megamind lead a robust pack including raunchy comedy Due Date and yet another Tyler Perry hit, For Colored Girls, reports Anthony D'Alessandro. Among indie openers, Danny Boyle's 127 Hours soared in its limited debut.

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  • Peter Bogdanovich
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    M

    The film with the shortest title in movie history is also among the most powerful ever seen: Fritz Lang’s devastating 1931 German-made thriller about a psychopathic child-murderer played with extraordinarily feverish intensity by Peter Lorre: M (available on DVD), the single letter standing for “murderer.” Released during only the third year of full sound, the picture has in common with certain others of this early talking period (1929-1933) a profoundly exciting use of silent-picture technique at its best combined with innovative and remarkably imaginative use of sound. Such masters of visual story-telling as Lang, Ernst Lubitsch, Rene Clair and Howard Hawks, made the transition with a flair and abandon not really to be seen quite so vividly again. In very different ways, pictures like Lubitsch’s The Smiling Lieutenant, Clair’s A Nous La Liberté, Hawks’ original Scarface, and M share an unconventional spirit of daring experimentation.

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  • Spout
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    Posts About "TRON"

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  • The Playlist
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    'Bond 23' May Not Be Quite Ready For A November 2012 Release

    Financing Issues Remain, As Well As Potential Scheduling Issues For Daniel Craig & Director Sam MendesWhile it was recently suggested that the upcoming merger between MGM and Spyglass Entertainment could bring iconic spy James Bond back to the big screen by 2012, updated reports are now asserting that the bold prediction may be slightly premature.

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  • SydneysBuzz
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    Digital Theaters From Arts Alliance

    From Film Journal International: Arts Alliance Media and Arqiva bring satellite to Odeon cinemas, Nov 5, 2010Leading European digital-cinema company Arts Alliance Media and partner Arqiva Satellite & Media announced a deal to equip all of the Odeon & UCI Cinemas Group screens in mainland Europe with satellite service. The deal covers over 1,000 screens across 100 sites in five countries—Austria, Germany, Italy, Portugal and Spain.

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