It’s a bizarre world, this (almost, more-or-less, maybe) post-Covid movie landscape. Pieces are falling into place: Production starts have been up for a year, box-office revenue continues to climb, though it’s still a long reach to pre-Covid highs. But so much is so different, and I don’t mean just the obvious shift toward streaming. Look
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Box office is big news this week, not so much for its totals as for its totemic significance. Throngs will greet Top Gun: Maverick, but will kids join the grownups to see a nearly 60 year-old actor starring in a sequel to a 36 year-old hit? At the other end of the audience spectrum, will
OK, Ausiello, you were right. Heartstopper was amazing. Beyond. When my boss told me to watch Netflix’s teenage romance, insisting that I’d like it, I said what I usually do when he makes suggestions — “Mm-hmm, mm-hmm, you betcha” — with every intention of ignoring him. But this week, I gave it a shot. Dunno
“Deliver a good entertainment, and the audience will come.” That’s what the venerable director Robert Wise told me after defying Hollywood doubters with his hit musical West Side Story (yes, the 1961 version). Courtly and gracious, Wise also was a tough realist who, following his success, decided to turn to disaster movies like The Hindenburg and
My good colleague Pete Hammond tells us the film awards season is in full swing, live and in-person. Screenings. Panels. Parties. Lunch with the stars. Just like 2019. Now, if the audience would only catch up. This weekend, an extremely important connection got missed, as Steven Spielberg’s West Side Story, meant to be a crowd-pleaser,
At the exit to a gallery in the Academy Museum of Motion Pictures is a display of opinions about the future of cinema. For example: “THE FUTURE OF CINEMA IS INCLUSION NOT EXCLUSION” –Kimberly Steward
It’s fascinating to watch local governments — New York, San Francisco, Los Angeles, New Orleans — rush to enact Covid vaccine requirements for entry to the publicly accessible spaces of private business, including, yes, movie theaters. I’m not equipped to judge the ultimate propriety or efficacy of such mandates. Frankly, the complexities posed by breakthroughs,
Where did everybody go? They certainly weren’t watching the Friday night Tokyo Olympics opening ceremony. The audience dropped to about 17 million, down 37 percent from 26.5 million viewers for the Rio de Janeiro opening in 2016. (Though Saturday was better.) We know they weren’t at the movies. The box-office dropped 25 percent from last
It’s thrilling to watch Lionsgate make a run at the box office top spot with The Hitman’s Wife’s Bodyguard, a grown-up comedy. Not a kiddie fantasy, like Peter Rabbit 2 or Cruella. Not a Covid-era placeholder, like The War With Grandpa, or a streaming event, like Borat Subsequent Moviefilm. But a rough, raucous, R-rated action
Long before former Hulu chief Jason Kilar became disruptor in chief at WarnerMedia and put the entire 2021 Warner Bros slate on HBO Max, Fredric Rosen began changing the way concert tickets were sold as the Ticketmaster president/CEO, when the service became the leading computerized ticketing company in the world. He would become co-CEO of
RELATED STORIES True-crime TV has found its new obsession: The twisted saga of the NVIXM cult, with famous followers like Smallville alum Allison Mack and salacious accusations of sex slavery, has inspired not one but two long-form TV documentaries, along with a number of one-off investigative specials. HBO’s The Vow, which premiered in August, was
What a great time not to be a movie marketer. Theaters half-closed, with COVID-19 again rising. Pipeline dried up. Academy of Motion Picture Arts and Sciences asking, in a survey that was due last week, how the pandemic is affecting your craft. Or what’s left of it. But movie promoters on the whole are an
Watching Wayne Wang’s Coming Home Again, set for a virtual release (online, but through individual theaters) by Outsider Pictures on Oct. 23, delivered a jolt. Like getting nicked by a live wire. The picture is so small–shot in just over three weeks on a micro-budget. So personal: The story is about a young Korean-American man
As Deadline’s Tom Tapp reported last week, Los Angeles County isn’t quite ready to join other parts of California and the nation at large in allowing movie theaters to reopen, even with restrictions. So the coronavirus-beset movie capital remains closed to indoor movies. Which isn’t entirely bad. It buys some time, at least, to figure
Will the movies ever let religion back into the mainstream? It doesn’t seem likely, given the secular bent of most critics, festivals, and film awards. But the question could certainly occur to any thoughtful viewer of Marco Pontecorvo’s Fátima, which is set for release by Picturehouse in theaters and via PVOD on Aug. 28. The
Auditions make me nervous. Not for myself — I’m beyond the casting-call stage of life. But rather for anyone who still has the nerve to endure the almost always disappointing, sometimes humiliating, process of being screened, interviewed, tested and most probably rejected for a role in show business. Or journalism. Or politics, wherein the final
In or around 1976, I caught a forlorn moment near New York’s Bleecker St. It was early morning. The sun was just up. Two ragged guys were shuffling toward me on the sidewalk, when one offered the other a bottle in a bag. But the drink was declined. “I guess I lost my taste for
Talk about box-office drama. As the July 4 weekend unwinds, IFC’sThe Truth might be slugging it out with Homewrecker from Dark Star and The Outpost from Fathom for the honor of ranking somewhere in the 300s, near IFC’s own Wiener-Dog, among all-time Independence Day performers. (Who can say for sure, as release dates have become
If the film industry is ever going to be what it was—just a few short months ago, when pictures as varied as Parasite, 1917, Joker and Little Women were among those vying for honors—it’s going to need more than union safety protocols, disposable seat covers in theaters, and new Oscar inclusion standards, all of which
RELATED STORIES Warning: This post contains spoilers for all eight episodes of Netflix’s Too Hot to Handle. Let me state this upfront: I am a certified dating show junkie. I watch The Bachelor — and The Bachelorette. I enjoyed Love Is Blind. I even watch trashier fare like Temptation Island. (Speaking of which: Where is
Suddenly, 2020 is a year of imponderables. Will there be a Cannes Film Festival? Given the coronavirus-induced cancellation of SXSW, MipTV, and the AFI Life Achievement Gala, who knows? Is Marvel’s Black Widow the big spring-summer hit, now that No Time To Die is bumped to November? Maybe, if an April/May release still looks wise
If any good is to come of the coronavirus outbreak, and just now it is hard to see even a glimmer of good, we might consider this: The media will have a shot at redemption. Japan is closing its schools. Saudi Arabia has put Umrah on hold. Cruise ships are dead in the water. And
So, what happens now? With the three-and-a-half-weeks early, lowest-rated Oscar show in the bag, the movies and those who love them are caught in an unaccustomed February vacuum. Normally, there would be cocktails, canapés, and the whispers of publicists looking for last-minute advantage over competitors. But Sunday’s Academy Awards implosion—what else to call a show
The rituals of awards season are ideal for surrounding hits with glitz, but some big-budget movies with mixed reviews can get lost in the smoke and mirrors. Consider the case of three of history’s priciest creature features — Dolittle, Underwater and Cats — all opening quietly amidst Oscar distractions, and leaving potential write-offs surpassing $100
The Academy of Motion Picture Arts and Sciences certainly isn’t short on documentarians. Atop its existing 400 or so documentary branch members, the Academy in July invited almost 100 additional doc-makers to join. Despite some internal concern that a few invitees might need help with the dues, now $450 a year, it seems safe to
Two and a half cheers for the Landmark Theatres in West Los Angeles. The parking escalators have been broken for weeks. Those purple and black staff outfits are a bit somber. And $15 dollars seems high for an hour and 35 minutes of Linda Ronstadt: The Sound Of My Voice, as delightful as it is.
Over the next three months, dozens of new TV series will make their debuts, jockeying for top priority on your DVRs. But which freshman fare is actually worth your precious time? To help you sort through this annual onslaught of comedies and dramas — premiering not just on the broadcast networks, but also on Amazon,