April 16, 2013 3:54pm EST
These past nine years have seen the Tribeca Film Festival transform from a patriotic passion project of Robert DeNiro into one of the most exciting annual purveyors of new film. Tribeca has upheld the flavor of independent cinema with countless small and engaging projects, but has hardly fallen victim to these limitations — just last year, the festival debuted The Avengers, as big a movie as one can imagine. The variety maintains with 2013's slate, kicking off this week. No matter what breed of cinephile you might be, the Tribeca slate has something to be excited over...
You wanna laugh?Indie fests aren’t all tearjerkers and documentaries. Tribeca ’13 has a healthy platter of comedy in store. A few attractive entries: Adult World, in which aspiring writer Emma Roberts works at a sex shop while taking literary advice from an eccentric John Cusack; A Case of You, which stars Justin Long as a young man who lies on his Internet dating profile (is there any alternative, really?) to impress barista Evan Rachel Wood; and the wicked G.B.F., which highlights the competition of two vapid popular teens to win the camaraderie of their high school’s first openly gay student.
Not into that? Fine. As a wise man once said, “Laughs are cheap. I’m going for gasps.” We’ve got you covered:If your preferred movie-watching position is at the edge of your seat, Tribeca’s list of thrillers, horrors, and crime dramas will peak interest: holding up the fantastical, there’s Byzantium, in which mother-daughter pair Gemma Arteron and Saoirse Ronan (doesn’t it seem like they’d be more appropriately cast as sisters?) fend off a ganglion of undead monsters; an emotional punch invades the genre with A Single Shot, in which a Sam Rockwell vies desperately to reunite with his family after being wrongfull accused of murder, and in Whitewash, which sees Thomas Haden Church circling the drain in the wake of an accidental killing; finally, things get their darkest in Big Bad Wolves, when two vigilantes (one with a badge) take the apprehension of an alleged serial killer into their own hands.
Would you prefer tears?There’s nothing like a good cry and there’s no deficit of sob stories at Tribeca: kick off with the troubled father-son story of At Any Price, in which corn farmer Dennis Quaid comes to blows with his son Zac Efron, the contentious economy of the corn industry, and his own compulsive pride; there’s some hard-hitting material to be found in The Reluctant Fundamentalist, which illustrates a young Pakistani man’s personal and professional experiences in America following the events of Sept. 11; and in the especially promising Bottled Up, we have Melissa Leo, tackling a new gritty story (hopefully without those dreadful Oscar pleas this time around) about the complicated journey attached to devoting one’s heart to a drug addict.
How about Paul Rudd? You like Paul Rudd, right?Especially when he’s hanging out with some other guy? We’ve got two for you, then. Take your pick:Almost Christmas, in which smooth-talking Rudd teams up with conman and cuckold Paul Giamatti in the get-rich-quick game, or Prince Avalanche, in which highway worker Rudd teams up with his nubile brother-in-law Emile Hirsch in the doing-nothing-for-hours-on-end game. Both strong candidates.
Well you must like cat videos…The documentary Lil Bub & Friendz proves that America’s kitten GIF fixation has extended far and beyond an at-work distraction. It is now a full-on, film-inspiring religion.
You like your documentary subjects to be a little more… sophisticated?Okay, hot shot. How’s Gore freakin’ Vidal? Burr Steers, Christopher Hitchens and more lend their takes on the superhuman American writer in the doc Gore Vidal: The United States of Amnesia.
Finally, the one we're all waiting for:Ladies and gentlemen, Before Midnight, the third (and possibly final... but who knows anymore) chapter of Richard Linklater's story of romance involving a garrulous Ethan Hawke and a scathing Julie Delpy. When the trio introduced the small but unstoppable Before Sunrise in 1995, it invoked something fresh and humane. When the follow-up Before Sunset hit in 2004, fans were doused by the amazement of the sequel's ability to not only live up to, but to perhaps completely outdo its predecessor. And word on the street is, Before Midnight is more than worthy of its company among these heartrending gems. Tribeca might have a lot of gold lined up this year, but nothing more exciting than Before Midnight.
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April 12, 2013 11:53am EST
Author/exhausted father Adam Mansbach's wildly popular 2011 children's book for parents Go the F**k to Sleep is getting the big screen treatment. Now, if visions of disappointing movies like He's just Not That Into You or TV shows S**t My Dad Says — which both took clever, of-the-moment, albeit one-note ideas and effectively made them less so — just danced in your head, you can rest a little easier.
Hollywood.com confirms that actor/writer/all-around hilarious human being Ken Marino (of Children's Hospital, Party Down, Veronica Mars, Wet Hot American Summer, and Role Models fame) and his wife Erica Oyama are adapting the delightfully foul-mouthed illustrated book for Fox 2000.
While interpretations of the best-selling book seemed like it hit a fever pitch back in 2012 when Samuel L. Jackson, the man who can turn any bad word into an art form, did the audio narration for it. After all, no one could make lines like "I know you're not thirsty. That's bulls**t. Stop lying. Lie the f**k down, my darling, and sleep" sound better than the Pulp Fiction star could.
Still, if anyone can revive the hilarious, but somewhat controversial book from its slumber, it's Marino and Oyama. Look no further than E!'s criminally underrated, but bitingly funny reality dating show parody Burning Love, which they both write and star in. Now, here's a series that in theory should only work as, say, an SNL sketch, but instead of being just funny in concept, has pitch-perfect comedy execution.
Better yet, Marino and Oyama are in a tight-knit comedy circle in Hollywood that includes the likes of Paul Rudd, Adam Scott, David Wain, Megan Mullally, Malin Akerman, June Diane Raphael, and Michael Ian Black, just to name a few. So while no casting announcements for the Go the F**k to Sleep movie have been announced, it's a pretty safe bet that a few familiar faces could pop up to tell unruly kids to, well, you know.
Another safe assumption is that Marino and Oyama probably won't take the Spike Jonze approach of what he did with another short, but beloved book with his adaptation of Where the Wild Things Are. Instead, here are some ways we could imagine the couple tackling the already-funny source material:
An all-star romantic comedy parody: Have a huge ensemble comedy like What To Expect When You're Expecting about a group of new parents and their terrible children and then skewer the hell out of an ensemble comedy like What To Expect When You're Expecting.
An all-star absurd comedy: Almost the same as above, but instead of doing a self-aware parody, just balls-out comedy nonsense on par with Wet Hot American Summer.
Keep it animated: There aren't nearly enough PG-13 or R-rated animated movies anymore. (What the hell is this generations Bebe's Kids?!) There's a reason why shows like Archer and South Park (which, admittedly, made for the best R-rated animated movie of all-time) are so f**king popular.
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April 10, 2013 4:23pm EST
Adam Scott made the greatest announcement in television history: he'll be doing another installment of The Greatest Event in Television History. Scott, who broke the news to Jimmy Fallon on Tuesday night's episode of Late Night, said this time around he'll be joined by his Parks and Recreation leading lady Amy Poehler and Saturday Night Live alum Horatio Sanz. Jon Hamm (pictured here with Scott in the original), as you'll recall, died in the first one while attempting to recreate the opening credits to the, er, "classic" detective series Simon & Simon.
Though Scott lovingly described making the first one with his buddy Hamm as "really, really, very stupid" and "a lot of work and a total waste of time," the actor is, thankfully, making more of them. Three more of them, in fact. The first new one with Poehler and Sanz will air on June 6 on Adult Swim. While Scott wouldn't give any major details away, he did say it would be recreating another "hourlong show." Presumably — and hopefully — another unintentionally hilarious drama from the '80s with a great theme song and even greater facial hair.
Watch Scott's official announcement about The Greatest Event in Television History sequel to Fallon (who apparently missed the boat on the first one) and the brilliant original below:
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April 09, 2013 7:11pm EST
Radiohead frontman Thom Yorke has become an unlikely 'agony uncle' for teenagers, doling out advice on break-ups, body image, and crushes in a new video blog. The rocker, 44, sat down with his Atoms for Peace bandmate Nigel Godrich to answer questions submitted by young readers as part of the Ask a Grown Man blog spot on RookieMag.com.
Yorke first responded to a 16-year-old girl from Vermont, who asked him for tips on how to overcome her nerves and approach a boy she likes.
He said, "If you have a crush on him, if you're really, really, really, really shy, which is what I was when I was that age - also, I was at a boys' school so it was impossible to meet girls anyway - how about just write him a note?... Or throw him against the wall sometime."
Another teen admitted she feels insecure about a scar on her chest, and Yorke opens up about his own physical flaw, a lazy eye that was completely shut when he was born.
He explains, "When I was your age, I was convinced that girls would think that (my eye) was really not very nice at all. I worked in this pub and this old woman - she was so funny - she used to come in all the time. And she was the first person who really said to me, 'It's the nicest thing about you.'
"She was p**sed (drunk) all the time, but I went with it. You'd be surprised. You know, everyone is imperfect. No one has a symmetrical face. No one's body is perfect. Don't worry."
Filmmaker Judd Apatow and actors Jon Hamm and Paul Rudd have also filmed installments for the Ask a Grown Man series.
April 02, 2013 9:50am EST
So, you're hanging out with Seth Rogen, when he suggests you head over to James Franco's place for a big party. Nnaturally, Craig Robinson and Danny McBride tag along. At this party, things get a tad out of hand: Mindy Kaling affirms that she wants to sleep with Michael Cera, who gets slapped by Rihanna and blows a handful of cocaine into Christopher Mintz-Plasse's face while Jonah Hill laughs at the lot of them.
All in good, typical Hollywood fun, as you'd imagine. Until fires break out on the horizon, gaping hole opens up in the lawn, swallowing Jason Segel, David Krumholtz, and Aziz Ansari alive. Things look mighty bad — peaking when an axe-wielding Emma Watson robs you of your what little sustenance you have in the wake of this mind-blowing apocalypse. And then ... fade to titles.
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Sounds kind of like that trippy dream you had when you fell asleep during a Freaks & Geeks marathon, doesn't it? That's pretty much what This Is the End looks like — all the people you like (or tolerate, anyway) from Paul Feig's high school drama, 40-Year-Old Virgin, Superbad, Knocked Up, Pineapple Express, and NBC's Thursday night lineup (with a few bonus players thrown in) facing off against a simple, accessible hurdle (the Apocalypse) with the promise of high-stakes fun. In short, it's candy.
Candy that involves an inebriated Michael Cera getting impaled by a lamppost. But candy nonetheless. Check out the red band trailer below!
Follow Michael Arbeiter on Twitter @MichaelArbeiter
[Photo Credit: Suzanne Hanover/Columbia Pictures]
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March 29, 2013 1:51pm EST
Barbara Walters' reported retirement at 83 doesn't just mark the end of an illustrious, wildly successful career that spans 52 years. It marks the end of a dying breed: The larger-than-life woman TV journalist.
It's without an ounce of sentimentality or nostalgia that I say, no one will ever be able to replace Walters — because Walters' position no longer exists.
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Most famous for her incredible interviewing skills, Walters is often named on the list of the industry's best female journalists of all time, a list that sadly doesn't usually inch past 20 names. (The Atlantic's recent list makes it to 22 while top journalism school New York University stops short at 21, but both include Walters.) But her impact goes beyond the practice of TV journalism, in which she excelled by becoming the first ever female national nightly news co-anchor, followed by her newsworthy interview series The Barbara Walters Specials. Walters covered all angles of our culture, leading her to become a pop culture icon in addition to her success as a newswoman, even landing a spot on TV Guide's 50 Greatest TV Stars of All Time — a list that included Dick Van Dyke, Lassie, and Miss Piggy. In a way, Walters became the most famous face of women in journalism throughout her career. Now that she's stepping down, it's hard to imagine anyone, even the likes of Katie Couric or Christiane Amanpour, taking up her mantle.
Couric and Amanpour are important examples because they both represent different segments of Walters' legacy. Couric is forging the path as the "new Walters," coming up through the Today Show machine, being outsed as a nightly national news anchor (Walters was booted when viewers failed to accept her as a female nightly news anchor), and starting up her own series that makes headlines for its interviews. But Couric's career slides a little away from Walters' monumental example, with her daytime talk show Katie angling more towards Oprah than a Barbara Walters Special with episodes titled "Tina Fey & Paul Rudd’s College Confessions" and "How to De-Stress Your Life with Goldie Hawn and Deepak Chopra."
Amanpour, on the other hand, is all business. Known primarily for her reporting, Amanpour is more of an investigative journalist than Walters, but it's her nightly news interview series Amanpour (in addition to her position as CNN's chief international reporter) that could put her at an angle to take up mantle of Walters' long list of landmark interviews, including Fidel Castro, Indira Gandhi, and Hugo Chavez.
The issue, however, is that there is no singular woman in TV journalism who is primed and ready to take up Walters' post, effortlessly balancing the seriousness of hard-hitting journalism and the pop culture appeal of a host on The View. And there never will be. Amanpour, Rachel Maddow, and MSNBC's Andrea Mitchell may be some of the leading women in TV journalism, but they're not Walters, and it's not entirely clear that they even want to be.
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Part of that comes from the way in which online journalism is segmenting TV reporting. Because of the rise of online journalism and the ability to access it through mobile devices, TV news is slowly declining. A recent study from the Pew Research Center for People and the Press reports that the number of people under 30 who get their news from television has decreased from 49 percent in 2006 to 34 percent in 2012. Meanwhile the number of people who get their news online, through social media (which includes through journalists' own Twitter feeds) has increased from nine percent to 19, and it's growing.
At the same time, few serious women journalists on TV could even qualify for a gig like Walters' post on the view. It was about a year ago that Anne Curry was pushed out of the Today Show, a spot she'd more than earned, because her style was too austere and weighty, where the show was seeking light-heartedness and fluff. Now, the morning program is reportedly seeking Anderson Cooper as a potential savior — not because of his extensive experience as a reporter, but rather his ability to cuddle Grumpy Cat, field Kathy Griffin's sexual advances on live TV, and become a giggling mess at the mention of a Gerard Depardieu bathroom pun. At this rate, it seems more likely that we'll see Miss Grumpy Cat herself or Kid President take over Walters' yearly "10 Most Fascinating People" program, than a serious personality like Maddow or Amanpour.
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But this lack of a Walters' successor isn't necessarily something to mourn — Barbara, herself, will be missed, but her position won't be, necessarily. While women journalists still have a long way to go to match the numbers and fame of their male counterparts, her placement as a sort of catch-all persona for the plight of the woman reporter has done all it can. It proved that a journalist at the top of their field doesn't have to be a man; it proved that an interview with a political leader can be just an influential as one with a pop icon; it proved that a woman could become wildly famous for more than her beauty or her charm, but for the brain inside her head.
And as we move further and further into an age of famed Internet-based journalists and more specialized TV journalists like Amanpour — who has a lock on international news — and Maddow, who built her career on her outspokenness and honesty rather than her universal appeal, the echo of Walters' influence is everpresent. And in a way that's the highest compliment she could be paid: she's infinitely influential and completely irreplaceable.
Follow Kelsea on Twitter @KelseaStahler
[Photo Credits: Donna Svennevik/ABC; Peter Kramer/AP Photo]
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March 28, 2013 9:52am EST
Over the past few years, the post-win projects of the Academy Award's Best Supporting Actresses have included guest stints on TV shows like 30 Rock (Octavia Spencer) and Louie (Melissa Leo), another Oscar-nominated turn (Penelope Cruz in Nine) and, well, disappearing from the spotlight completely (Mo'Nique).
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On the other end, it looks like Les Misérables star Anne Hathaway will be following up her Oscar victory with a dark comedy. (Before her Oscar win, reports had Hathaway pegged to star in an adaptation of The Taming of the Shrew).
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According to Deadline, the actress is in "deep negotiations" to star Laggies, the Lynn Shelton-directed, Andrea Seigel-penned film about an irresponsible woman named Megan (what would be Hathaway's role) who hides out with her new 16-year-old best friend Annika (played by Chloe Grace Moretz) after she runs away from her boyfriend's proposal. Paul Rudd, Sam Rockwell and Mark Webber are all names that have been linked to the project as well.
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Hollywood.com reached out to Hathaway's rep for confirmation about the Laggies casting report, but they could not immediately be reached for comment. Still, Moretz all but confirmed the news for the world when she tweeted, "Thank you to Lynn for letting me do this awesome movie with Annie :) I'm so excited to do this :)."
[Photo credit: Ben Pruchnie/FilmMagic]
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March 23, 2013 11:28am EST
The new romantic dramedy Admission marks some pretty big firsts for television royalty Tina Fey: it's the first time the 30 Rock star worked with Paul Rudd (despite having a whole lot of very funny factors previously connecting them) and the first time the funny lady took on a more serious role.
Admission director Paul Weitz (whom Fey also worked with for the first time) is no stranger to adapting books for the big screen and having stars step out of their comfort zone (see: About A Boy and Hugh Grant's revelation of a performance in it), but he was particularly eager to work with the Emmy-winning Fey on this project.
In Admission, Fey plays Portia, a content, straight-laced Princeton admissions officer whose life takes a series of unexpected turns when her longtime boyfriend Mark (Michael Sheen) leaves her for another woman, her mother Susannah (Lily Tomlin) reveals she's had a double mastectomy, and Portia meets a charming single dad and high school teacher named John (Rudd) who not only becomes a romantic interest but also introduces her to Jeremiah (Nat Wolff), a bright young man who could be the son she gave up for adoption years ago. Subsequently, she hits a series of moral dilemmas with her job when Jeremiah applies to Princeton. It's not exactly an episode of 30 Rock.
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"I like it when they're taking a step," the Oscar-nominated Weitz (whose previous credits also include American Pie, In Good Company, and Little Fockers) tells Hollywood.com regarding working with actors and actresses on a role that breaks them out of their usual mold, like Fey in Admission. "I felt like the character [Portia] needed comedy and intelligence and Tina has both of those things. I really felt like it would be something she could do."
"The character feels like she is settled in her life and nothing is going to change for her: she has the job she wants for the rest of her life, she's in a relationship and doesn't want to get married, and most of all, doesn't want to be a mom. Then she gets thrown this massive curve ball in the course of this movie," Weitz continues. "So it's really important to have somebody who you think is smart enough to fool themselves into thinking that everything's done."
Weitz says he was not aware that Admission would mark Fey's first post-30 Rock performance ("I was aware that there was a certain amount of the year when one could shoot a movie with her"). He said that after reading Jean Hanff Korelitz's 2009 novel of the same name on which the film is based: "I immediately thought of Tina for it."
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Fey tells Hollywood.com that appearing in the more serious Admission "wasn't a craven choice of, 'Check me out now, world'... it just happened to be that this felt like a really good script and story," but it seems her co-star Rudd needed a little more convincing for his part of the saintly John.
"When he first read the script he really wanted to work with Tina, but he felt like his character was kind of too good to be true," Weitz reveals. "This guy who does relief work, he's a single dad, traveling place to place doing good. He said, 'I don't understand this guy, he needs to be a selfish bastard as well.' So I worked pretty hard with him on the script."
In the end, both Rudd and Weitz seemed happy with the end result. Weitz says he appreciated that the film, and Rudd's characterization in particular, turned out to be "a pretty realistic portrayal of how when you have a kid you love, you yell at them a lot and they drive you insane. He's also a guy who's at a point in his life where he's gotten to make all the decisions, and his kid who is now 11 is saying, 'Wait a minute, why do we have to move?' I liked that not only was Tina's character in flux, but [Paul's character] was dealing with this big new thing."
While the director says that he doesn't "keep in mind what the fans of the book want because I figure they've had the wonderful experience of the book," he does take into account what the original text's author takes away from his "subjective reaction to it and what I take from it."
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He explains, "I don't want the author to hate me when the film's done, so usually I touch base with them and say, 'I wanna go in this direction, this is what I'm thinking of, here's why, and I hope that you're not upset with me.' It's always nice when the writer sees it and feels happy with the product." Looks like Hanff Korelitz gave Weitz and screenwriter Karen Croner a passing grade for their interpretation.
Watch the full interview with Admission director Paul Weitz below, including his thoughts on what constitutes as a romantic comedy in this day and age.
Admission is currently in theaters nationwide.
[Photo credit: Focus Features]
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March 21, 2013 12:33pm EST
We've really missed Tina Fey's Sarah Palin impression, donchaknow. And thankfully, it returned for a brief, wonderful few minutes when Inside the Actors' Studio host James Lipton asked with scrumtrulescent anticipation if Fey would allow him to speak with her version of Mrs. Palin. The result was, as expected, so great we want to take out behind the bleachers and get it pregnant. (Sorry about that; Fey also talks a little about why she wanted to get Tracy Morgan on 30 Rock before she goes full-Palin.)
But Fey wasn't the first person to be asked to bring a beloved character to the stark real life setting that is the Actors' Studio stage. She's one of a long line of actors coaxed into schtick by Lipton's gentle breeze of a timbre.
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Jim Carrey stopped by to chat with Lipton and the host requested what might be the best character reenactment possible: Fire Marshall Bill of In Living Color fame (or should I say notoriety?). One thing was clear: Carrey's still got it.
Mike Myers wasn't going to be outdone by the actors before him. On his second episode of Inside the Actors' Studio, he gave us not one, but two impressions. The first is his cartoon hero Shrek (8:18 mark) and the second is the pop culture phenomenon Austin Powers (16:29 mark).
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My personal favorite is the time we witnessed what The Simpsons' voice actor Dan Castellaneta looks like while he's contorting his voice into the vocal stylings of one Homer Simpson. Believe it or not, "Doh!" isn't even the best one.
The Family Guy actors also took part in the marvel of seeing actual people make those strange little TV voices, but as an extra treat Seth MacFarlane and Alex Borstine even sang the iconic tune from the opening of the show, complete with Stewie Griffin's inexplicably British interjections.
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Of course, some folks don't go for known characters. Take Robin Williams for example. (Or for the only example, because who else can match his hilarious and wild eccentricities? No one, that's who.) When he visited Lipton, his impression interlude descended into his usual madness and it all ended with Williams wearing a pink pashmina on his head. Typical.
Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: Anthony Behar/Bravo]
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March 21, 2013 12:17pm EST
Dreamworks animation and Twentieth Century Fox go positively prehistoric with the PG-rated The Croods, featuring the voices of Nicolas Cage, Emma Stone, Ryan Reynolds and Cloris Leachman. A solid opening weekend of $40 million will put this story of a caveman and his family on a fantastical road trip at the top of the box office chart this weekend. The film debuts in a brontosaurus-sized 4,046 theaters and should draw families and kids (who have been pretty much left out in the cold so far this year) to the multiplex.
The other family film offering this weekend is Disney's Oz The Great and Powerful, which has led the box office since its debut on March 8. The film opened with an impressive $79.1 million (the biggest debut of the year so far) and held the top spot for two consecutive weekends. Starring James Franco, Mila Kinus, Michelle Williams and Rachel Weisz, the first blockbuster of the year has earned more than $150 million in North America and should cross the $170 million mark by the end of the weekend with another $20 million in green added to the Oz bank.
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A newcomer will battle Oz for the second spot as FilmDistrict's Olympus Has Fallen, starring Gerard Butler, opens in 3,098 theaters. The R-rated action film is directed by Training Day helmer Antoine Fuqua and co-stars Morgan Freeman and Aaron Eckhart in this intense story of the kidnapping of the President of the United States and of course Butler is sent in to kick some ass. The film is tracking strongly with males 18+ should gross in the high teens according to the distributor, though we think it could cross over the $20 million mark if it really connects with the target audience and thus could debut in second place. This year has been a tough one for R-rated action movies aimed at the younger male demographic, so hopefully Olympus can climb to greater box office heights than its predecessors.
This means that fourth place should go to Halle Berry in the R-rated thriller The Call, which earned a better-than-expected $17.1 million last weekend. The film drew women in big numbers and an expected gross of around $9 million this weekend will put it over the $30 million mark in North America by Sunday night.
The fifth spot is open for a battle between a newcomer and a notable film expanding into wide release between a newcomer and a notable film expanding into wide release. We are giving a slight edge to A24's Spring Breakers which had an impressive limited release debut, taking in a staggering $263,002 in just three theaters. Building on buzz created at this year's SXSW, the bikini-and-guns yarn hopes to make its mark in national release this weekend with a gross in the $6 to $7 million range.
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This will put it on a collision course with the Tina Fey, Paul Rudd PG-13 comedy Admission, which is expected to make its debut with around $5 to $6 million. The film centers around a Princeton admissions officer who is faced with the possibility that a college-bound kid might be the son she put up for adoption many years earlier. Clearly aimed at 30-plus women and SNL fans, the comedy will make a modest splash this weekend.
Year-to-date box office is on the verge of hitting the $2 billion mark, but we are unfortunately running 12% behind last year's revenues at this point. Seven out of the last eight weekends have been down vs. the comparable period in 2012, and we are about to add another down frame this weekend because last year's comps include the $152.5 million debut of the first Hunger Games installment.
Still, we are optimistic that there are films on the horizon that can help the box office get its groove back including G.I. Joe Retaliation, Tyler Perry's Temptation, Evil Dead, and Tom Cruise in Oblivion, to name just a few.
[Photo Credit: 20th Century Fox, FilmDistrict]