Jake Gittes

Yep, I'll probably love this.

546m rub opening for JW. 15th of all-time.

Stands up to any of Pixar's great films. It's not perfect - because this is arguably Pixar's most abstract premise, the movie feels the need to constantly explain itself and make sure everyone understands what's going on almost every time it takes the viewer to unfamiliar territory, which is handled about as well as could be, but it's still noticeable. Visually it could have also been a bit more adventurous (I'm thinking one or two more sequences in the vein of the abstract thought scene, which is a stand-out), plus that dumb Brazilian pilot scene from the trailers is still in there, though it goes down better in the film. Those are small issues though, and on the whole the movie is a captivating journey that's funny, poignant, and bursting with energy and imagination from start to finish. Unlike more than a few Pixar films, it's very internally consistent (i.e. neither the first or the third act is obviously stronger or weaker than the other), and what I really appreciate is that it 1) has no antagonists, and, more specifically, makes Bing Bong one of the saddest characters in Pixar history instead of a twist villain, which would be really cheap at this point; 2) makes an explicit case for the value of sadness/Sadness and thus doesn't attempt to bullshit anyone in the audience, most importantly kids, for a minute; and 3) makes Riley herself an engaging, well-realized character; you could cut all the scenes taking place inside her head and still end up with a great 20-minute short film about a young girl's anxieties while growing up. My third favorite movie of the year so far behind The Duke of Burgundy and Mad Max: Fury Road.

As someone who's seen it... that seems unlikely.

It looks like Ennio Morricone will compose the original score for this. http://variety.com/2015/film/news/quentin-tarantino-holds-court-at-italys-david-donatello-film-awards-1201518810/ I couldn't have a bigger more stupid grin on my face right now.

When I went to see The Village and read the cast list, I assumed it was a typo and the movie starred some guy named Bruce Dallas Howard I'd never heard of.

Also When Marnie Was There having a $312k weekend and a $311k total.

Yep, pretty sure it's in 3715 theaters not 3175.

Most recently during Mad Max after the first chase (when the flare went out in the sandstorm) and after the final shot.

Inside Out (2015)

I can believe BvS has a chance to take the record. It's got the novelty and the position to be the first event movie of 2016, a lot of people will be curious to see how Affleck does in the role, and we all know how effective WB's marketing can be when they're on. The only things I can see holding it back are the oppressively dark tone and being a really terrible movie, but it can't be much darker than TDK and I doubt it's gonna be bad enough for WOM to start hurting it during the weekend.

Was likely to happen anyway with The Good Dinosaur. Now it'll just happen one film earlier.

JW made 135m rubles on Thursday. 4-day gross projected to be about 550m, which would mean like a 15th biggest OW (maybe top 12 if it overperforms with over 600m). Roughly the same territory as Noah (606m), Fast & Furious 6 (555m) and MIB3 (532m). In dollars it would've been $16-18m a year or two ago, now will be around $11m.

Ant-Man

Di Caprio is more the exception and even then it's because of how choosy he is. It's not like he would've made Aloha a success either.

Which is too bad because it deserves great legs more than any of those.

I don't see how you revive Jaws to make it big again unless you basically turn it into that silly CGI Megalodon extravaganza that's already being developed. (Either that or be faithful and do a straight-up R-rated remake but you might as well try to remake The Godfather). The original may have been the first summer blockbuster, but it was very small scale and an unusually big chunk of its appeal has always been in the human characters and their interactions. It's much more of a New Hollywood '70s movie than even Star Wars.

1) Will Spy fall less than 44.8%? Yes 2) Will any film in the top 12, playing in at least 1000 theaters, have a Friday increase of more than 88%? Yes 3) Will San Andreas have a Saturday increase of more than 40%? No 4) Will Entourage fall more than 2% on Thursday? Yes 5) Will Insidious 3 fall less than 58%? No 6) Will Mad Max make more than Entourage this weekend? No 7) Will Pitch Perfect make more than MMFR this weekend? No 8) Will Poltergeist fall more than Aloha % wise? No 9) Will Age of Ultron decrease more than 46%? No 10) Will San Andreas gross more than 80 million WW this weekend? No 11) Will Furious 7 drop more than 55%? No 12) Will Spy gross more on Friday and Saturday than JW does for Thursday previews? Yes 13) Will Spy increase more than 35% on Saturday? No 14) Will the top 10 movies add up to more than 185 million? No 15) Will Me and Earl and the Dying Girl have a theater average of more than $4000? Yes 12/15 3000 13/15 5000 14/15 7000 15/15 15,000 What finishes in spots: 7 Avengers: Age of Ultron 9 Tomorrowland 10 Love and Mercy 11 Aloha 2000 each and 3000 bonus for all four correct Bonus 1: What will Jurassic World gross? 5000 $113.236m Bonus 2: What will Ex Machina, Hot Pursuit and Paul Blart combine to gross this weekend? 5000 $549,739

Nothing quite tops "Debate" for me, but yeah, that was great. The list of Jonah's nicknames was glorious but sad at the same time - felt like Iannucci clearing out his box of insults before leaving the show.

No one will destroy anyone. IO will have its typical Pixar gross (anywhere from 225 to 275, with an outside chance of going higher), Minions will likely have its 300m and change.

Not to mention critics are reviewing the movie, not the show.

Among original R-rated comedies released in June, The Hangover and Ted both had a sub-15% drop on their first Sunday.

... and I'll get to #1. Yeah I know

Oh hai top 5.

A long take can still be awe-inspiring provided 1) it's not just showing off, but is used for tension, character development, etc.; 2) you actually realize how much work and care went into capturing it, how many details needed to be in the right place at the right time for it to be seamless. Now, long takes done with CGI can still be effective without adhering to that second part, but IMO they should at least follow the first rule, which is why the opening scene of Gravity is amazing while, say, the long take in the beginning of Age of Ultron is just a camera flying around with no real purpose. Most of the greatest long takes, though, are still those accomplished thanks to the incredibly precise timing of many people involved - Touch of Evil, I Am Cuba, Goodfellas, Boogie Nights, etc. Those can also be done and provoke a great reaction today - just look at all the praise and discussion surrounding the single takes in True Detective and Daredevil.