|WEEKEND BOX OFFICEBLACK CHRISTMASRICHARD JEWELLBOX OFFICEJUMANJI|
During the current worldwide pandemic, movie studios are no longer providing box-office figures because theaters have been shut down around the nation and the world. Because we are less interested in the actual figures themselves and more interested in what people are watching over the weekends, each week we will dive into Most Streamed and Bestseller Lists on Fandango, iTunes, Netflix, and Hulu to pinpoint the weekend’s most watched films.
We are now in our third week of inspecting the most watched movies at home, and it’s interesting how much more movement there is in the VOD market than in the traditional box office. That may be more of a function of our current situation, however, where theatrical movies released earlier this year are heading to VOD in a much faster clip to take advantage of the increased movie consumption at home. They’re probably also trying to recoup some of their losses, as well.
In our first two weeks, we’ve been eyeballing the iTunes and Google Play lists to come up with the most watched VOD movies, but Fandango’s most watched VOD movie seems to be a very good compromise between the two lists. In either respect, most of the lists suggests that the two most popular VOD movies this weekend were the home debuts of the two biggest films released in theaters in 2020, Bad Boys for Life and Sonic the Hedgehog. The two movies add to their $204 million and $146 million theatrical box office. Meanwhile, Pixar’s Onward comes in third now that it is being offered for $5 rental instead of $20 purchase note families: It’s free on Disney+, which cost $6 a month, and if you are spending $5 to watch Onward, you probably live in a family that could use Disney+ to help get through the next couple of months. This is not a plug. It is a lifeline.
Invisible Man is still going strong even at the $20 rental price point, but it’s still doing extraordinarily well, even as other movies have debuted and fallen below it, like Knives Out and Jumanji. e don’t have exact figures on Invisible Man on VOD, but it’s safe to say that it has been a resounding success. Excluding Trolls World Tour which is on presale, Invisible Man is number four, while Harrison Ford’s Call of the Wild - which was also ousted from theaters early - debuts at a middling #10, ahead of the original Bad Boys and two other movies still only available for purchase, Ben Affleck’s The Way Back and Robert Downey, Jr.’s Doctor Dolittle, which isn’t even doing well on the VOD market with families starved for movies.
Julia Louis-Dreyfus and Will Ferrell’s Downhill, which bombed in theaters, is likewise not making much noise on the VOD market, where it debuted at number 24. Meanwhile, I am only seeing it on the iTunes list #11, but the critically acclaimed indie flick Never Rarely Sometimes Always seems to be doing well. I haven’t seen it yet,...
The remake of the 1974 film serves as a companion piece to 'Ready or Not' in re-examining gender dynamics within the genre.
[This story contains spoilers for Black Christmas, Ready or Not and Hustlers]
Horror has long been a space to talk about femininity and gender, whether it's the overt abortion allegory of 1974's It's Alive or the role of the final girl in countless slashers. 2019 has been particularly pointed in how the horror genre uses gender to critique issues affecting women today, and this weekend'sBlack Christmas, a loose reboot of the 1974 Bob Clark-directed sorority horror feature, caps a year that saw a number of films looking at the horrors women face, and their desire to stand up and fight for their rights.
Where the original Black Christmas dealt with sexual harassment and a side plot on abortion, director Sophia Takal and co-writer April Wolfe's take is a pointed critique of today's culture. Their leading lady, Riley Imogen Poots, is a student of Hawthorne College and is a rape survivor. While Riley is still suffering the effects of her trauma, the college has moved on, with the administration not believing her claims and only her sorority sisters and a few others standing in solidarity with her.
Screenwriter Wolfe has said that the movie was inspired by the confirmation hearings of Brett Kavanaugh, the Supreme Court justice accused last year of committing sexual assault as a teenager. It's easy to see this influence reflected onscreen. The fraternity at the center of the movie is one with roots deep in the founding of America. Riley's friend Kris Aleyse Shannon brings up that the founder of Hawthrone owned slaves and his statue, once the centerpiece of the campus, has been removed due to cultural sensitivity. As Riley and her friends are set upon by the frat, it's discovered that their power comes from the statue itself. This blending of the mystical and the historical also popped up earlier this year in the film filmReady or Not. That film also involved a final-esque girl, played by Samara Weaving, being hunted by her rich in-laws.Ready or Not | Twentieth Century Fox Film Corporation
The family at the center of Ready or Not also have its wealth and, by extension, its power, gifted to them through magical means. The family patriarch effectively sold his soul to a man named Mr. Le Bail who granted him money and prestige. In return, anytime a family member gets married their spouse must “play a game.” Weaving's Grace is the new initiate tasked with surviving a game of hide and seek and, like the women of Black Christmas, realizes that being a woman means she's perceived as lesser. In the world of the rich, powerful, and male, she will always be the sacrificial lamb. So when her husband, a man going presumably against his family and willing to throw away money for love, ultimately turns on...
When Kathy Bates smashed that sledgehammer into James Caan's ankles 30 years ago in Misery, the world may have collectively cringed, but it made Bates an unforgettable force in Hollywood history.
The then 42-year-old actress wasn't a household name when she took on that role of homicidal nurse Annie Wilkes. She'd had theatrical successes, and appeared in a few smaller films and television shows like St. Elsewhere and L.A. Law. And yet, that year, she took home an Oscar, proving the game wasn't up for women over 35. Not by a long shot.
This year, Bates is enjoying her fourth Oscar nomination, this time for Richard Jewell, the Clint Eastwood-directed true tale of a heroic security guard falsely accused of planting a bomb at the 1996 Atlanta Olympics, although he actually found the device and saved many lives.Warner Bros.
Despite the Academy recognition, it's only very recently, in conversation with Eastwood, that she allowed herself to consider her success.
“I said to Clint, 'I've been doing this for 50 years, but I finally feel like I hit the big time.'” She says. “And I don't mean with all the marching bands and the confetti, I mean, working with another incredible director, and doing a story that matters.”
And Richard Jewell really does matter, in that telling the true story of a wrongly-accused person will always matter. Jewell surely deserves all the public exoneration a big-name feature film can deliver, even after his untimely death at 44 in 2007.
The film details his intense media and FBI hounding, while his mother Bobi, played by Bates, suffers under the weight of defending her son.Warner Bros.
Feeling “extremely nervous”, Bates flew to Atlanta ahead of the shoot for her first ever meeting with Eastwood. “I remember asking him why he wanted to make this movie,” she says, “and at first he looked up with those eyes and I thought, 'Oh God, here we go.' Then he said, 'Well, I think it's a movie I'd like to see.' He was so angry at how Richard had been treated. He felt this was an American tragedy, and that it needed to be told.”
So, she went to work, researching Bobi Jewell. And then they met. “We sat and talked for two or three hours and I recorded her voice. We went through the script and she corrected a few things. She teared up quite a few times. She was very determined. She gave me the Vanity Fair article that Marie Brenner had written that the film is based on. Bobi looked very different then, she was more my size, so that made me feel good. At one point I said, 'I just want to get this right for you Bobi.' And almost like a little girl, she said, 'Well, just be me.' And I thought, 'Oh...
Week three of no theatrical releases. That will technically change soon — Universal’s premium VOD-opening “Trolls World Tour” has a handful of still-open drive-ins to play don’t expect any grosses reported. But it was a week full of important stories, with particular interest in a series of release date adjustments. However, no date can be realized if theaters aren’t open, and nobody knows when that will be.
• Exhibitor trade organization NATO held a webinar Friday. President John Fifthian raised hope that some theaters might be open by late May or early June. AMC Entertainment CEO Adam Aron, who oversees the most screens in North America reiterated his hopes for mid-June.
• With the COVID-19 still in its early stages of national spread, uncertainty about the curve flattening, and signs that in China, which had the earliest outbreaks three months ago, that viral decline doesn’t equal viral defeat, the reality is it could be weeks before anyone can make a reasonable assessment on reopening.
• Countering industry optimism that after weeks indoors, people will flock to theaters is a survey by Performance Research about public attitudes on return to public events. It saw 49 percent of respondents saying feeling safe about returning to theaters ranged from in a few months to never, with 28 percent saying if they do return, it will be less often. That said: This is a snapshot taken nearly two weeks ago, and shouldn’t be considered predictive. It showed similar or worse results for sporting events, concerts, and theme parks.
• Sports league executives spoke with President Trump, who urged resumption as soon as possible. However, Dr. Alan Sills, chief medical officer for the NFL, cautioned it is premature to believe that football can return this fall. Governors in some states that aren’t fully shut down, like Nebraska, encouraged voluntary compliance — with the threat that if the virus isn’t contained, their ardent fans might not have a season. Sports, of course, demand close player and spectator contact, and are more vulnerable even than theaters to the ongoing threat of contagion. But the idea that it is conceivable the country could have a year with no more sports is even more shocking than disruption to theaters.
• The key takeaway from multiple studio release schedule changes is, in re-dating titles, they don’t expect theaters to be fully operational until July at the earliest. Though key June and July titles like Pixar’s “Soul” and Christopher Nolan’s “Tenet” remain in those months, “Mulan” on July 24 is the earliest rescheduled date for any major title. Other date changes act as a diversion while theaters are closed, but the reality is everything is written in pencil, not pen.