As the festival celebrates its 50th year, it continues to be a major showcase for Central and Eastern European cinema.
The international box office came to the rescue for numerous films and franchises, often counting for nearly three quarters of their worldwide gross.
Confession: I don’t like The Lord of the Rings films. All of them.
Without question, Bale remains one of Hollywood’s most versatile and risk-taking leading men.
Disney continues to produce and use the same kind of fantasy marketing template to attract kids of all ages.
Aside from the ethics of 3D, it’s undeniable that Catching Fire will be at an economic disadvantage without it, losing as much as $4 per ticket in some cases.
The departure of a new Martin Scorsese/Leonardo DiCaprio vehicle surely meant another equally high-profile or even several smaller-profile releases would be flocking to the date.
Anchored by its attachment to The Avengers, this new film’s artistic aspirations become irrelevant to domestic reception, since the massive global opening ensures its event status.
The D or F CinemaScore can indicate something potentially subversive about the material, whether intentional or not.
The entirety of the marketing for The Counselor suffers from what I’m calling “prestige-film fallacy.”
These Academy members possess an elementary school understanding of art, where films operate in a purely denotative register.
In what sense, then, is Machete Kills not simply that: a cash-in sequel meant to make fast money?
So, Contagion is the reigning champion—at least, until Alfonso Cuarón’s Gravity opens in IMAX 3D this Friday, the first AHB to open in the two-plus years since.
Baggage Claim, the other(ed) wide release this week, will likely be marginalized because of these “higher profile,” male-driven openers.
There are many, many articles railing against 3D: picture is too dim, glasses are uncomfortable, provide a distancing rather than immersive effect, and so on.
Box office grosses are becoming mere statistics to be batted around among industry insiders and fans.
Okay, so audiences still aren’t ready for De Palma’s operatic visual sensibilities, but surely critics must be on board by now, right?
One Direction looks to steal the music industry’s spotlight back from Miley Cyrus this weekend with One Direction: This Is Us.
Social media outlets have afforded the horror film an “event” status among younger moviegoers.
Nikki Finke is a controversial figure with regard to her notoriously early and often incorrect box-office estimates.