Jake Gittes

1. Will Rings open to more than $10M? No 2. Will Rings open to more than $12.5M? 3000 No 3. Will Rings open to more than $15M? No 4. Will Space Between Us open to more than $2.5M? Yes 5. Will Space Between Us open to more than $4M? 2000 Yes 6. Will Space Between Us open to more than $5.5M? No 7. Will Split stay at Number 1? Yes 8. Will Dog's Purpose stay above $10M? Yes 9. Will Resident Evil have a higher percentage drop than XXX? 2000 Yes 10. Will La La Land enter the top 4? Yes 11. Will Hidden Figures cross $120M domestic by the end of the weekend? No 12. Will Moana stay above Lion? 3000 No 13. Will Sing have a Saturday above $1.5M Yes 14. Will Rogue One increase more than 100% on Saturday? Yes 15. Will the Comedian have a PTA above $8,000? No 16. Will the I Am Not Your Negro have a PTA above $4,500? 2000 Yes 17. Will Bye Bye Man make less than $300k? Yes 18. Will Moonlight have a Bigger Percentage drop than Arrival? 3000 No 19. Will Split's PTA stay above $4,750? Yes 20.Will The Eagle Huntress ever leave cinemas and has anybody in the actual world actually seen it? Yes Bonus: 14/20 2000 15/20 4000 16/20 6000 17/20 9000 18/20 12000 19/20 16000 20/20 20000 Part 2: Closest predictor wins 5000 points (Added bonus: If prediction is within 10% win 6000; 5% 7000; 2.5% 9000; 1% 12000) 1. Predict Rings' 3 day gross. 7.978 2. Predict La La Land's Saturday gross. 4.516 3. What will Split's percentage drop be? -31.8% Part 3: Predict the films that place in the following positions: 1. Split 3. Hidden Figures 5. Rings 8. Lion 10. xXx 13. Gold

Not the same Huston though. But yeah for me Noah Cross might be the most skin-crawling villain in all of movies.

Orson Welles in The Third Man obviously. Walter Huston in Treasure of Sierra Madre. Anton Walbrook in Life and Death of Colonel Blimp and The Red Shoes.

Yeah I don't see how it's even a question.

FWIW one of the AV Club writers replied to me under their spring preview article that Fox is gonna be screening this "relatively early".

Dude has a thing for veteran French actresses. And maybe she saw that Caron, Cynthia Nixon and Ellen Burstyn all won Emmys for guest-starring in it in the previous three years and decided it might be an easy way to get one

Annapurna. Of course.

The Master basically felt to me like it was trying to do way too much and was never quite focused enough, leading to some incredible individual scenes but a frustrating whole. (This was four years ago so there's still a chance I'll see the light). Whereas in Inherent Vice the shagginess became easier to roll with on every additional viewing, because you recognize paranoia and mistrust as a central theme, plus PTA had a fantastic source material as a guide and instead of creating a big story from scratch he actually had to cut things out. Plus its humor and wistful atmosphere and and overall warmth all make it more inviting than The Master. Every time I rewatched it I laughed more and more, sometimes at nothing more than the timing of an edit or at any given line delivery.

I was as ambivalent on The Master after my second viewing as I was after the first. Inherent Vice is bliss tho.

It kind of amazes me that after the back-to-back flops of The Master and Inherent Vice this movie has a production budget of $35m AND was bought for distribution for more than $20m. Either PTA is in his more mainstream mode on this one or people don't care if they lose money backing him I guess.

The opening 10 minutes had me worrying this would be terrible, but thankfully it mostly kept me engaged in a good way after that. Exactly like the monster himself it tells a story about how life is complex and unfair, then spells the message(s) out in the bluntest and most hamfisted way possible, but ultimately I appreciated that it was coming from an honest place and was focused on what it wanted to do. I also suspect I would have considered it the most profound thing ever if I saw it in my early teens, and for now at least I have a soft spot for movies like that. Hopefully it finds someone that age for whom it's going to be that formative movie. That bullying shit early on is godawful though. Nearly sank the entire thing for me before it even started.

Portman not a great counter-argument either. She pretty much had to wait 6 years for another role with any kind of meat on it. 12/2/16 Jackie FoxS $12,185,482 508 $278,715 5 18 8/19/16 A Tale of Love and Darkness Focus $572,212 66 $37,170 2 24 3/4/16 Knight of Cups BG $566,006 68 $60,551 4 25 1/29/16 Jane Got a Gun Wein. $1,513,793 1,210 $835,572 1,210 21 11/8/13 Thor: The Dark World BV $206,362,140 3,841 $85,737,841 3,841 4 5/13/11 Hesher WHE $382,946 42 $126,046 42 26 5/6/11 Thor Par. $181,030,624 3,963 $65,723,338 3,955 5 4/8/11 Your Highness Uni. $21,596,445 2,772 $9,360,020 2,769 15 2/4/11 The Other Woman IFC $25,423 9 $6,224 2 28 1/21/11 No Strings Attached Par. $70,662,220 3,050 $19,652,921 3,018 7

Sounds like you don't quite love PTA and DDL enough

Source: Whitby Photography IndieWire Lots more behind-the-scenes photos in the first link.

I'm sure we'll still be seeing them even if not consistently. A type of movie, no matter what, doesn't just die to be never heard from again, and quality and subject matter aside something like The Revenant was made in essentially the same uncompromising auteurist '70s spectacle mode, in fact it was specifically reminiscent of Heaven's Gate in several ways except it was lucky to have DiCaprio so it was huge. Films like The New World, There Will Be Blood, The Hateful Eight all broadly fall under the same umbrella, and then there's smaller-scale stuff like The Immigrant which is very '70s. As long as a filmmaker with a certain amount of clout and luck and resourcefulness wants to do something like this it'll get done, even if not nearly as often as we'd like it to.

If it were up to me I would have pushed it back to give it a grand premiere in Cannes or something followed by a quiet Tree of Life-esque summer run. I remember Scorsese insisted in an interview that it was gonna come out in 2016 so maybe it was his personal wish to get it out as soon as possible but I'm not sure why he'd push for that.

I think it could have at least crawled to over 10m with a slow but focused rollout instead of a pointless huge expansion. But first it needed to come out somewhere outside of a ridiculously packed awards season.

Jan 6–8 20 $482,034 +479% 51 +47 $9,452 $864,457 3 Jan 13–15 16 $1,984,530 +312% 747 +696 $2,657 $3,066,642 4 Jan 13–16 16 $2,374,886 +393% 747 +696 $3,179 $3,456,998 4 Jan 20–22 20 $1,166,271 -41.2% 1,580 +833 $738 $5,174,972 5 Jan 27–29 26 $614,127 -47.3% 316 -1,264 $1,943 $6,408,505 6 Sigh Paramount.

Yeah I'd go as far as to say he's the greatest filmmaker I know of the past half century who's still largely unknown in the West even among cinephiles and critics, and of the celebrated Soviet/Russian directors of his era he's at least on par with Tarkovsky and Kalatozov and arguably even better. The pre-Khrustalyov stuff is much less difficult and political though - and better, as far as I'm concerned - which makes it even more of a shame that it's so hard to access if you're not Russian.

I haven't seen anything Teller's done post-Whiplash but he was really good in that, Rabbit Hole and Spectacular Now so I don't especially enjoy seeing him treated as the internet's latest punching bag whether he's douchy in real life or not. Plus he immediately called Jeff Wells out on his shit that one time, shouldn't that count for something?

Looks like I picked the right time to put a certain someone on ignore earlier today

I still haven't actually. Missed it in theaters, then bought the DVD but it's still just sitting there a couple years later. I'm a fan of all of German's previous work though. I've already recommended it but Trial on the Road especially is just a cracking wartime thriller. No crazy experimenting there, it's short, clean and brutally effective. Twenty Days Without War and My Friend Ivan Lapshin are two of the greatest Soviet films too.

The novel it's based on is a sci-fi classic here and the movie was a pretty big deal even if not a commercial hit for obvious reasons. The director was also a major figure in Soviet/Russian cinema, and the movie was additionally notorious for spending about a decade in production and then post-production. And of course it was more than uncompromising and wild enough to attract attention in the West too.