Box Office
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The Social Network's Treatment of Women, Winterbottom's Kercher Murder Mystery to Star Firth
-It's no surprise that David Fincher and Aaron Sorkin's The Social Network is getting Oscar-buzz, zeitgeist hype and debates about what is fact and fiction. Now the role of women in the film is kicking up controversy. The Daily Beast's Rebecca Davis O'Brien argues that the femme roles are props in a...
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The Social Network Plays Well to Academy
Saturday's Academy screening of The Social Network played well to a full house--the movie also opened at number one this weekend, and scored rave reviews, which won't hurt with Oscar voters.
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Weekend Box Office: The Social Network Clicks to Top
The most buzzed-about launch of the fall season, The Social Network met (but did not exceed) expectations with a $23-million start, while hard-R vampire thriller Let Me In proved to be a classic tweener: too bloody violent for upscale smart-house crowds and too European for mainstream gore-hounds. Anthony D'Alessandro explains:Sony’s PG-13 Facebook origin myth The Social Network effortlessly clicked its way to the top box office spot with $23 million – a number which was in line with studio estimates, but fell short of crashing any ticket booth’s computer with a fall record. Two R-rated thrillers, Overture’s vampire remake Let Me In and Para...
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Social Network Update: Charlie Rose, Wired
It's fascinating to see the dynamic between The Social Network visualist David Fincher (not a wordsmith) and scribe Aaron Sorkin on Charlie Rose. Fincher seems deferential, and Sorkin dominates the space. Not the usual director/writer interaction.
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Weekend Box Office: Wall Street: Money Never Sleeps Easily Clips Legend of the Guardians, You Again
There's life yet in the adult drama, as Oliver Stone's Wall Street sequel easily outscored the weekend competition. Anthony D'Alessandro reports.
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Weekend Box Office: Affleck's The Town Breaks Warners September B.O. Record
With The Town, Ben Affleck proves that he can open a movie--if he directs it. Not only did the Warner/Legendary movie score with critics at Venice and Toronto fests (earning a remarkable 93% on the Tomatometer) but it beat out the weekend boxoffice competition with a $23.8 million estimate. That's a...
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Clip Watch: Mirren, Willis Play CIA Seniors in Red
Summit introduced their grown-up thriller Red at Comic-Con, where star Helen Mirren wore an American Splendor t-shirt in solidarity with the late great Harvey Pekar.
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Zombies Reign at Weekend Box Office as Resident Evil Afterlife 3D Scores $27.7 Million
What makes Resident Evil run? Anthony D'Alessandro examines the longevity of the horror franchise, which scored a $27.7 million opening weekend on its fourth go-round. Giving Avatar director James Cameron more motive to throw 3-D films under a bus, genre filmmaking reigned this weekend as Sony/Screen Gems’s fourth Resident Evil: Afterlife 3D, based on the 1996 videogame, scored $27.7 million. It was evident from the zombie film’s Friday bow, which zapped $10.9 million, that it was bound to outstrip the record of its last installment, 2007’s Resident Evil: Extinction ($23.7 million). The lack of frosh wide entries in a historically sleepy se...
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Fassbender/McQueen Reunite, Studio Critique, Love And Other Drugs, Mulligan Talks Never Let Me Go
- The Guardian calls Hollywood's summer box office victory - approximately a 2.4% lead on 2009 - a hollow one; "the abiding memory of summer 2010 will be of a decline in standards" (the standards of storytelling, not technical effects). The arguments behind this hollow victory include the decline in actual people in theatre seats (lowest since 1997) and the rise in revenue (thanks, 3-D), the root of which conflicts with studios' growing challenge to stay relevant amongst growing sources of alternative entertainment (if they're only making movies for profit, they're undermining the argument for preserving the relevance of film). The Guardian a...
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Summer Box Office Wrap: Winners and Losers, from Karate Kid to Cats and Dogs
In the final analysis the summer box office doesn't look so bad, writes TOH numbers cruncher Anthony D'Alessandro, who insists that weighing cost vs. return is more important than tallying the grosses or admissions.
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