In case you were away from your computer this past weekend, check out nine of the top stories published over the past two days on indieWIRE and the blog network. Included are box office reports, reviews, New York Film Festival coverage and more.
REVIEW | Lonergan’s Long-Delayed “Margaret” Flopped at the Box Office, But It Deserves Better
“The Magnificent Ambersons,” Orson Welles’ 1942 follow-up to the proverbial game-changer “Citizen Kane,” has two legacies. Many critics and scholars consider it a masterful look at the dissolution of an affluent American family.
Box Office: Art House Audiences Take “Shelter” As “Margaret” and “Sarah Palin” Bomb
It was a busy weekend at the specialty box office with 5 new films reporting their limited debuts. According to estimates provided by Rentrak earlier today, it was Jeff Nichols’ “Take Shelter” that was the clear winner of the lot.
NYFF ‘11 Review: “Tahrir” Is A Must-See Account Of The Egyptian Uprising
The “Arab Spring”—a term frequently used to describe the various countries in the Middle East rising against their much-maligned leaders—rages on in full force. Though the wave of revolution is powerful, the media tends to be very selective in its coverage, focusing on one country before quickly moving onto another. You can’t blame someone if they just assumed Egypt was just dandy now given the lack of coverage, as Libya’s the new paramour.
Weekend Box Office: “Dolphin” Tale Overtakes “Moneyball” in Second Inning
While it looked like “Moneyball” would assert its dominance over the weekend box office, another second weekender took the prize: “Dolphin Tale.” Again, the family movie pulled a bigger niche audience than too many competitors aimed at males and adults.
REVIEW | With “Carnage,” Polanski Fights a Losing Battle to Make Theater Cinematic. But What a Cast.
In Yasmina Reza’s hit play, “God of Carnage” ingeniously traps its characters on the stage. A dark comedy unfolding in real time, the chaotic plot involves a pair of well-to-do parents sorting blame for an unseen fight between their children.
Christine Vachon and Ted Hope Want To Tell You Everything They Know, and We’re Giving Away Tickets
It’s hard to believe this hasn’t happened before, but veteran indie producers Christine Vachon and Ted Hope are holding their first-ever stateside master class (sponsored by IFP and indieWIRE) November 5 at the Cantor Film Center.
Nick Broomfield’s Portrait of Sarah Palin, Mean Girl
If you’d paid no attention to political news in the past three years and had never seen Roger and Me, maybe Nick Broomfield and Joan Churchill’s “Sarah Palin: You Betcha!” might seem fresh. As it is, this slight, sometimes amusing documentary is familiar in too many ways, from yesterday’s facts to the film’s Michael Moore-ish structure, which has Broomfield chasing after a Palin interview from Alaska to Arizona and points in between.
Polanski’s “Carnage” Charts Divisive Politics; Slams Both Liberals, Conservatives
At the opening of the New York Film Festival on Friday night, New York’s cultural elite—whether intellectual liberal cinerati or well-heeled conservative donors—received a poisonous dose of condemnation in Roman Polanski’s lacerating new film “Carnage.”
NYFF ‘11 Review: Scorsese’s George Harrison “Material World” Doc Is A Moving & Striking Portrait
Rock ‘n’ roll and Academy-Award-winning Italian American filmmaker Martin Scorsese are inextricably linked. After decades of creating striking pictures soundtracked to the likes of the Rolling Stones, Eric Clapton, and the Phil Spector-produced Girl Group strut and constructing documentaries about some of the biggest giants in contemporary music — Bob Dylan (”No Direction Home:Bob Dylan”), The Band (”The Last Waltz”) and the Stones (”Shine a Light”)—Scorsese finally turned his gaze to one titan in rock he had yet to cross paths with, The Beatles.