|BRITTANY RUNS A MARATHONTHE SPECIALBOX OFFICEBRITTANY|
Paul Downs Colaizzo breaks down key moments in the movie as Jillian Bell's main character nears her finish line.
When Brittany Runs a Marathon writer-director Paul Downs Colaizzo first started working on his debut movie about a woman trying to turn her life around as she starts running, he didn't know if Brittany Jillian Bell would actually make it to the New York City Marathon.
He made this revelation to the film's real-life subject, his friend Brittany O'Neill, telling her, "I know at this point that she gets injured and can't finish the race as planned. The movie's really about distance traveled as opposed to finishing a marathon. The marathon's metaphorical, it's figurative."
Shortly thereafter, O'Neill herself got injured and couldn't run in the New York City Marathon, just one of a few instances in which O'Neill's "life started to mimic the outline" of Colaizzo's film, he says.
But beyond predicting his friend's misfortune, the stress fracture Bell's Brittany suffers in Colaizzo's story initially sends her into a downward spiral in which she feels as though all of her training has been for nothing and that all of the weight she lost, prompting a number of compliments, will come back.
"In order to tell the story as wholly as possible, I needed to explore what can happen and what happens when anyone subjects themselves to the male gaze," Colaizzo tells The Hollywood Reporter. "I think anybody that purposefully and necessarily experiences being objectified by men, there's trauma that comes with that. For Brittany, the character, I think it's easy for people when they start transforming and they start getting positive feedback or things that feel positive, they'll lose track of the real ultimate goal, which often or many times isn't about the positive feedback, it's about their own values, their own ideals and what they're chasing for themselves. It's very easy, I think, for people to get confused by other people's values when other people start complimenting them and treating them in a way that's positive. It's easy for people to start looking for that validation rather than to follow through on the pure task that they've given themselves and that feels very relatable and that feels like it hasn't really been explored before in these kinds of films. The harsh reality of the world we live in is that people do treat you differently because of how you look and how you present yourself and I wanted to find that good and insightful character journey within those given circumstances."
After a heart-to-heart from her brother-in-law Demetrius Lil Rel Howery, Brittany is able to refocus on her goal.
And she ultimately does make it to the real New York City Marathon, in more ways than one, with the film shooting during parts of the actual 2017...
The vast majority of cinemas in North America have been closed for business since March 20.
Box office revenue in North America suffered a steep 25 percent year-over-year decline — or a deficit of $600 million — in the first quarter of 2020 amid the far-reaching impact of the coronavirus pandemic.
It's no surprise that most of the damage was inflicted in March as cases of COVID-19 spread across the U.S. and Canada. By March 19, virtually all cinemas in both countries were closed, save for a smattering of indie cinemas and drive-ins.
Domestic ticket sales turned in a combined $1.81 billion from Jan. 1 through March 19, the day when Comscore stopped reporting theater grosses. That compares to $2.41 billion for the first full three months of 2019, according to Comscore.
In March of this year, revenue came in at a mere $255.7 million as new product underwhelmed at the beginning of the month before moviegoing started slowing and then came to a standstill. That compares to $612.8 million for the March 1-19 stretch last year, making for a decline of 58 percent. When counting all of March 2019 $967.8 million, the year-over-year dip for the month was 74 percent.
No one is sure when theaters will reopen — earlier this week, AMC Theatres CEO Adam Aron suggested mid-June — or how long it will take for traffic to resume in earnest once that happens.
Hollywood studios have delayed many of their releases through June and into July — more changes are expected — creating a backlog of product that is likely to impact the rest of the 2020 calendar as well as next year.
This year's box office began on a high note. January revenue clocked in at $912 million — led by Sony's breakout hit Bad Boys for Life — an uptick of 12 percent over January 2019. February $644.8 million also saw gains over the previous year, led by Paramount's Sonic the Hedgehog.
In 2019, box office revenue in North America was $11.4 billion, a bit behind the all-time high of $11.9 billion in 2018. Globally, a new record was achieved with $42.2 billion.
It's too early to say how big of a hit the 2020 worldwide box office will take because of the pandemic, but Hollywood studios and distressed theater owners are already facing global losses of $7 billion. That number could grow to as high as $15 billion to $17 billion if cinemas aren't reopened by the end of May.
In China — the country's second-largest market moviegoing market behind North America — theaters have largely remained shuttered since the end of January, in addition to closures or empty cinemas in a raft of other major territories.
Source: Hollywood Reporter
“Almost Family” has a lot of blind spots, but believability shouldn’t be one of them. Fertility fraud is a serious, real-world problem. There are plenty of people still reeling after discovering their fertility doctor used his own sperm to inseminate patients, rather than the specified donor, and state legislatures are still working to amend laws related to what can be plainly called medical rape.
And yet the new Fox drama is so untethered it feels more like science-fiction than timely commentary. Most misguided is the show’s insistence that family is defined by DNA, even when said DNA was unwanted, unknown, and unimportant on how, exactly, said family member turned out, but there are so many leaps of faith required within the first two episodes that it’s absolutely impossible to see how “Almost Family” gets anywhere close to watchable TV.
Easily the most encouraging aspect is Julia Bechley — specifically, Julia Bechley’s strict adherence to wearing a helmet while cycling around Manhattan. Julia Brittany Snow pops on that ugly yet eye-catching lime green monstrosity everywhere she goes, whether she’s stopping to take in the Manhattan skyline on her morning commute or riding in circles around her newly discovered siblings in a literal nightmare. While she can’t quite make it fashionable, her commitment is a a good reminder for viewers at home to protect their brains and, b as good of an insight into Julia’s goody two-shoes, health-focused mindset as you’ll get, sans explicit narration.
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That’s because most of Julia’s characterization comes by way of her father, Leon Bechley Timothy Hutton, a respected fertility doctor until midway through the pilot when everyone finds out he’s been impregnating his patients using his own sperm. The revelation — casually tossed at him by a reporter outside a party — sends Leon to the hospital with a heart attack and Julia back to the practice they run together. Though it’s unclear whether Julia actually wants to be a doctor or she just really likes helping women get pregnant, her gig at the clinic is described as a “glorified secretary” — meeting with patients, reassuring patients, telling doctors to watch the Jets game so they can...